Australian Brandenburg Orchestra premiered Félix Máximo López’s Symphony / Overtura

Eight concerts with the Australian Brandenburg Orchestra, in Sydney and Melbourne, served for the 2018 premiere of the Symphony in B flat major that Félix Máximo López (1742-1821) used as the entrance / overture to the Opera “Los Locos” (El Disparate or The Work of Los Locos).

FELIX MAXIMO LOPEZ Overtura with tutti instrumenti (World premiere)

Sydney – 2018Wed, 5 September, 7:00 PMFri, 7 September, 7:00 PMSat, 8 September, 2:00 PMSat, 8 September, 7:00 PMWed, 12 September, 7:00 PMFri, 14 September, 7:00 PMMelbourne – 2018Sat, 15 September, 7:00 PMSun, 16 September, 5:00 PM

Jenny Burnson September 21, 2018 in Live Shows, Melbourne, Reviews
<< My companion was most impressed with Lopez’s work, exclaiming “That’s my idea of ??lovely music!” Similar comments were expressed by those around us, while several others were busy discussing the merits of the music’s composition. All agreed the chance to hear and enjoy both old favorites and discover new historical music ensured Mediterraneo was a concert to savor.

Jenny Burns attended the opening night of Mediterraneo with Daniel Pinteño as a guest of the Australian Brandenburg Orchestra. >>

In December 2016 I sent a correspondence (corporate email) to Daniel Pinteño to request a recording budget for my operatic discovery “Los Locos” by Félix Máximo López. His reply was that for personal and professional reasons he could not get involved in other projects. He gave me the phone number of another colleague of his so that I could get in touch with him and I did.

At the same time I informed him of this video with the recording of said Symphony, which I uploaded to Youtube, as well as how he could listen to all the work on my website and access the text.

Three days ago I noticed these representations in Australia in 2018, searching on Google, which I found by chance. Curiously, I am not mentioned anywhere for my musicological work and in all the media (very profuse) only he appears as the manager of this work.
In these media it is only mentioned by “the Symphony” by Félix Máximo López, without specifying that it belongs to the Opera, and also that the portrait of the composer was painted by Goya (when he was the court portraitist Vicente López Portraña). FML did not write any other Symphony, except that of this Opera, which is also discussed, and coincides, that it is in B flat Major.

You have to be aware of the facts. In some newspapers they say “World premiere of the Symphony”, when my recording has been exposed to the world public for 21 years (hundreds of thousands of clicks, I can prove this with the “logs” on my website), and my video that I uploaded to Youtube is from 2015 …

While in some media they call it “Overtura con tutti instrumenti (World premiere)”, and evidently Félix Máximo López only composed one Opera, which I discovered and edited (First world edition) and published, “El Disparate or La Obra de Los Locos “(in three acts). But while in an Australian medium they mention this Opera, it seems that they do not relate it to said Symphony (that’s why it took me three years to realize it …, because it did not appear in Google searches, well, it did not appear in Google in any way … .). The fact that my discovery appeared 20 years ago in a lot of web pages is no longer relevant because it seems that Google “dumped” them all, sent them to the trash can. Not to mention the abuse of my copyright, of which I continue to maintain 100% of all the work, music and lyrics, by law of several favorable records in the Intellectual Property of the first edition “urtext” (this is the case even though originally in the public domain), and various institutional records with stamped and signed approval. (World premiere). To make matters worse, in the Malaga newspaper, the land of the violinist, they say that the Symphony is from 1780, when I placed the Opera in 1815. Wow, they discovered a symphony from that time and no musicologist knows where they got it from … But what more serious is that the owner of 100% of the copyright, discoverer, publisher and disseminator of the Work writes to them and they do not want to correct it, nor do they answer.

I ask Daniel Pinteño and the Australian Brandenburg Orchestra who has performed the edition on which they have performed those concerts, and they do not answer me. In fact, they block me.

Article 129 of the Intellectual Property