The household recovers the copyright of 37 works for 50 years, an “incalculable” quantity, in line with their attorneys The guitarist didn’t know that he was not registered as the one writer till shortly earlier than his loss of life The pianist and arranger José Torregrosa registered as co-author and his household has continued to obtain half of the ‘royalties’
Paco de Lucía “went clean” when he came upon that he was not listed as the one writer of “Entre dos aguas”, the work that gave him worldwide fame and that modified flamenco endlessly. The guitarist’s shock was informed by his daughter to the lawyer Agustín Azparren, one of many attorneys who for six years have been combating for the musician’s descendants to get well 50% of their copyrights, which the arranger and pianist obtained for half a century Jose Torregrosa. His actual contribution was to transcribe the music and put it on the stave, however the authorship, already by judgment, belongs to Paco de Lucía.
“We are speaking about some huge cash, inconceivable to calculate for now, however above all, about an inventive query,” Azparren defined to NIUS a day after studying {that a} industrial courtroom had agreed with the heirs of the virtuoso from Algeciras. Now, the SGAE should present certification of how a lot earnings the heirs of Torregrosa have obtained, in order that they’ll return it.
To the query of “how a lot cash” may there be on the desk, the lawyer doesn’t know learn how to reply and assures that the household doesn’t both, amongst different issues due to “how Paco de Lucía dealt with his affairs.” We ask him if it will likely be greater than 1,000,000 euros, and sure, he takes it with no consideration.
Paco de Lucía came upon that the tune was not solely registered in his identify shortly earlier than he died, exactly when his daughter started to rearrange a few of her papers. Since then, showing as the one writer of that work turned an “obsession” for him. He was nonetheless alive when the household tried to succeed in an settlement with the heirs of Torregrosa, who died in 2005, however it was not till 9 years after the loss of life of Paco de Lucía, when his household received the primary authorized battle.
Azparren awaits an enchantment from the Torregrosa, who should return the royalties obtained for “Entre dos aguas” and 36 different musical items. But not solely that, the choose declares that Paco de Lucía’s “ethical proper” has been violated and forces the convicted to pay one other 10,000 euros for that harm.
Azparren, who performs the guitar, confesses to NIUS that this is among the profitable sentences that has ever given him probably the most satisfaction: “I obtained to know learn how to play the primary pluck of “Entre dos aguas”, which is the simple half, as a result of later It’s loopy. I by no means would have imagined that I might find yourself collaborating in one thing that has such musical significance”, he feedback from Asturias and over the telephone.
And we face an unprecedented case. The presence of arrangers within the authorship of music, and the notion of copyright, is one thing that has at all times existed, and that many musicians perceive as a “revolutionary tax”, in line with the lawyer’s expertise. However, there have been no lawsuits, as a result of the events used to succeed in an settlement within the SGAE.
Twice they’ve tried to reconcile the family of Paco de Lucía with these of Torregrosa, with out success, in line with Azparren, who doesn’t rule out that now there may be.
Paco de Lucía by no means realized
To perceive why Paco de Lucía by no means realized what was taking place, you must know the world of music of oral custom similar to flamenco and the guitarist himself. Faustino Núñez, a musicologist licensed in Vienna and specialised in Flamenco, who’s near the composer and educated about his work, is aware of each: “Imagine a 30-year-old boy, together with his entire life forward of him, with these live shows, these excursions. He did not He was frightened about what it was wish to register the songs. I think about that the quantities of copyrights would come to him, and he would say, look how good, however he didn’t contemplate the rest “.
Faustino Núñez has been an knowledgeable on this case, and his report has been key within the choose’s choice. One by one, he analyzed the songs and defined why they might solely be by Paco de Lucía. According to his examine, collected within the sentence, the germ of “Entre dos aguas” is present in a piece from two years earlier, “Rumba impromptu”, which consists of an improvisation. And that makes it unfeasible for Torregrosa to have something to do with the inventive course of.
Flamenco consists on the fly, there isn’t any doubt that the writer is Paco (Faustino Núñez, musicologist and knowledgeable witness within the trial)
In her dialog with NIUS, Núñez explains that flamencos, identical to rockers, compose on the fly as a result of they “need not write music, they compose it after which memorize it”. Of course, later, it should be transcribed and put into rating, however those that do that can not be thought-about authors. “A musician with a tutorial background (like Torregrosa) will hardly ever be capable of assist in the inventive subject, given the character of flamenco.
In the case of Paco de Lucía, as within the case of many others, “he didn’t know learn how to write scores” though over time he discovered one thing. Hence the function of Torregrosa, who “carried every thing, and likewise saved the data.”
So when it was time to register works like “Entre dos aguas”, he turned a co-author. He was not the one one, it was an “unwritten observe”, asserts Núñez, sarcastically saying that Torregrosa started to gather the rights “by mistake”.
Núñez met Paco de Lucía within the 80s: “I turned inseparable from his sextet each time they got here to Spain,” this buddy and admirer of the guitarist tells us, who has by no means been in any doubt who composed the songs in query of judgment
In the trial, he refuted Torregrosa’s family, who tried to exhibit his involvement within the composition, arguing that he was additionally a flamenco: “I replied that there’s an encyclopedic dictionary the place all flamencos come from and that Torregrosa doesn’t seem there”, was his response. .
For him, the music of Paco de Lucía is greater than identifiable, as a result of its approach and elegance. During his era, and particularly with him, the world of the guitar turned the wrong way up. Paco de Lucía “set the varsity”, provides Núñez, who from the start was clear about what the choose’s choice was going to be: “It was out of the query that this was going to be like this.”
the 37 songs
The full record of the 37 songs whose copyrights are recovered by Paco de Lucía’s household is that this: ‘Gitanos Triana’, ‘El Tajo’, ‘Jerezana’, ‘Llanto a Cádiz’, ‘Punta Umbría’, ‘Recuerdo a Patiño ‘, ‘Long reside La Unión’, ‘En la Caleta’, ‘Cry the seguiriya’, ‘April in Seville’, ‘Al conquero’, ‘Que viene el Coco’, ‘El Vito’, ‘Fuente Nueva’, ‘Plazuela ‘, ‘Improvised Rumba’, ‘Serranía de Málaga’, ‘Temas del pueblo’, ‘Barrio de la Viña’, ‘Canastera’, ‘When the rooster sings’, ‘De madrugá’, ‘Bell tolls’, ‘Punta del faro’, ‘Farolillo de feria’, ‘Farruca de Lucía’, ‘Tientos del Mentidero’, ‘Flamenco Percussion’, ‘The flamenco guitar and Orchestra of Paco de Lucía’, ‘Fuente y caudal’, ‘Los pinares’, ‘ Plaza de San Juan’, ‘Reflection of the moon’, ‘Solera’, ‘Aires choqueros’, ‘Cepa andaluza’ and ‘Entre dos aguas’.
An entire repertoire that may go down in historical past because the unique work of Francisco Sánchez Gómez, the genius who referred to as himself Paco de Lucía and who died in Playa de Carmen (Mexico) on February 25, 2014, with the anguish of not figuring out his identify. whose music was to characteristic a lot of it.
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