This week, Javier Pérez Garrido was interviewed by Mr. Umemoto for WindBandPress. On the occasion of the Japanese premiere alongside the Tokyo Blas Orchester of 'A Trip to Spain' this Sunday, the composer reflects on his career, offering advice and suggestions for conductors, bands, and young composers. If you’re looking for tips to achieve successful concerts, you can’t miss this interview that we have just published on our website!
1. First of all, would you tell me about your background, where and how you grew up, what made you started as a composer?
I was born in Madrid (Spain) in 1985. From a young age, I have always been curious about everything around me, and music was something that particularly fascinated me. My parents would gift me small toy musical instruments, and I loved to play at “inventing songs.” This was mainly because, not knowing anything about music and with no one in my family able to teach me, I had to rely on my imagination. This phase began when I was about four years old.
Since my family is from Andalusia, in 1990 we decided to move to Cartagena to be closer to them, where I discovered choral music thanks to a teacher at my school. By 1993, I was already singing in a children’s choir, and the following year I started taking classes in music theory and clarinet. My passion for music continued to grow, and I kept perfecting the music I created, although it’s interesting to note that I never wrote it down; I only made improvisations that I recorded on cassette tapes, which was the technology of the time.
However, when I turned 12, I decided to start writing my first scores because I had gained enough knowledge to notate music and was eager to share my ideas with other musicians. By the age of 15, I had signed my first opus score, “Five Duets, Op.1” for two clarinets, confident that it would mark the beginning of my career as a composer. I felt that people needed to hear the beautiful music that played in my head. Now, as an adult, I am still fascinated to know that the great Spanish composer Salvador Brotons would include this score in his publishing house many years later, and that it would be performed in various places around the world, such as Costa Rica, for example.
2. You have published many wind band works. Would you tell me about what fascinates you about wind band music?
I entered the world of music bands in 1997, and from the very first moment, I was captivated by the rich musical and human experience that a band offers. I believe that being part of a band allows for a wonderful journey of friendship and music, which helps to nurture the human side of everyone involved, whether they are musicians or spectators. I’m excited by the idea that the language of bands is universal, and I have had unforgettable experiences with music bands from all around the globe.
In summary, I think that music bands serve as a catalyst for emotions that invite social transformation. This is why I have created works that reflect on important ideas for humanity, such as the overture “Song for Peace” which can be downloaded for free from my website (www.perezgarrido.com) for any band that is interested in promoting the values of peace.
3. When composing a wind band piece, is there anything you pay special attention to, keep in mind, or have any rules of your own?
When composing for band, there are several aspects that I usually pay special attention to. First, I focus on the instrumentation, ensuring that the mix of timbres is balanced while each instrument has its moment to shine because I always think that all musicians should have fun playing their parts. I also consider the directionality of the music so that the musical phrases and sections can be understood well, which greatly helps clarify the planning of the conductors and the interpretation of the musicians, allowing for a more enjoyable experience and greater success on stage because it enhances the emotional connection with the audience. In summary, the key lies in attention to detail and in creating a musical experience that resonates with those who listen.
4. If you have a piece of your own work that was a turning point in your life as a composer, would you tell me the episode about that work? (This does not have to be a wind band piece)
As I am passionate about band music where musicians have a great time, as well as Latin rhythms (because I have danced salsa for many years) and classical music, I decided to merge these three worlds into a score that I imagined would be like if Beethoven had written his best melodies in the styles of salsa, bachata, cha-cha-cha, etc., and orchestrated them for a modern windband. From there, ‘Beethoven is dancing salsa!’ was born. A work that soon became an international success and encouraged me to compose later works that included styles not so common in classical music, such as ‘Suite Latina, Op.52’ or the concert for tenor sax and band ‘Urban Concert, Op.60’ (that also includes the styles of rock, ska, swing, reggae, jazz, mambo…) It’s interesting how over time this music has given me great international exposure, and thanks to it, I have not only entered the prestigious Latin Grammy Academy but also managed to help create a musical repertoire that allows music bands to have unforgettable experiences that have helped them achieve great success in concerts.
5. If there are works by other composers or arrangers that have strongly influenced your composition or arrangement, would you tell me about them and how they have influenced you? (It does not have to be classical music)
I have always considered the process of musical creation as a quest for a personal language, as what makes us unique as composers is our ability to express, through our music, our way of feeling and experiencing life. However, I have also deemed it important to acknowledge the great composers who have inspired me in crucial aspects such as musical style and instrumentation.
For example, in my compositions for band based on the aesthetics of traditional Spanish music, such as the piece being presented in Tokyo this Sunday (“A Trip to Spain”) or my concert for two trumpets and band (“Concertino de los Filabres, Op.54”), I have been influenced by musicians like Falla, Albeniz and Granados.
I also have works heavily influenced by American musical aesthetics, with special mention to figures like John Williams in symphonic works for band such as “Heroic Overture, Op.26,” Jerry Goldsmith in “European Overture, Op.42” (which also won an award at the Jerry Goldsmith Awards), James Barnes in “Fantasia, Op.14,” and Aaron Copland in “Fanfarria, Op.50,” not to mention contemporary composers like Eric Whitacre, John Mackey, or Frank Ticheli in “Last Day of the Dinosaurs, Op.63,” and Danny Elfman and Alfred Reed in “Halloween Suite, Op.57.”
Additionally, I have developed a very successful creative line that emerged from merging classical music with Latin American rhythms (an idea that originated with “Beethoven is dancing salsa!”), inspired by Latin popular music, which also appears in works like “Suite Latina, Op.52” and the concert for tenor saxophone and band “Urban Concert, Op.60.
6. Would you tell me about your future goals (or what you would like to work on in the future)?
In the future, I aspire to continue collaborating with music bands and conductors from around the world. Engaging with such a diverse array of musical experiences allows me to learn new things while simultaneously inspiring fresh ideas. I am passionate about helping musical ensembles and their directors create unique concerts, providing them with the opportunity to have music composed specifically for them, music that truly reflects their values and traditions.
I welcome any musician to reach out to me via email at for any type of musical collaboration, whether it’s working with one of my existing compositions or commissioning a new piece. I would particularly love to maintain collaborations with musicians and bands from Japan, as I find their level of artistry to be exceptionally high, not to mention that they are wonderful people to work with.
7. Your works are performed and appreciated in many countries around the world. What advice would you give to young Japanese composers and Japanese students who want to become composers?
To young Japanese composers and students aspiring to enter the field of music, I recommend first immersing yourselves in a wide variety of musical influences. Exploring different genres and styles will enrich your compositional palette. Listen to both traditional Japanese music and Western music, and study how various elements such as melody development, harmonies, and rhythms are utilized. This broad perspective will help you develop a unique voice that resonates with audiences around the world.
When composing specifically for a wind orchestra, it is essential to pay attention to the distinctive characteristics of each instrument in order to significantly enhance your writing. Use techniques such as counterpoint to create intricate textures, and consider incorporating varied dynamics and articulations to maintain listener interest. Experiment with orchestration to effectively balance the ensemble, allowing each section to shine while contributing to the overall sound. Don’t forget the importance of structure; a well-planned piece will guide your audience through a captivating musical journey.
Lastly, don’t hesitate to seek guidance and feedback from peers and mentors. Collaboration can spark new ideas and elevate your work. For those seeking personalized assistance, I am available for online lessons where I can provide support and insights tailored to your needs (please request them at ). Together, we can explore composition techniques, refine your skills, and help you unlock your full potential as composers. Embrace the journey and keep pushing the boundaries of your creativity!
Interview and text by Shuhei Umemoto (Wind Band Press)
Photo by Nacho García
