Armand Grèbol was born in Barcelona in 1958. He studied music at the Barcelona and Badalona Music Conservatories, where he specialised in composition and conducting.
He began working as technical secretary of the ACC (Asociació Catalana de Compositors - Catalan Association of Composers) in 1990, and subsequently took up a position at the Fundació Música Contemporània (Contemporary Music Foundation) in 1993. Since that time, he has devoted his career to promoting and popularising contemporary music by means of organising series of concerts, publishing scores, books, records and CDs, courses, etc. He was the first conductor of the instrumental group Sitges 94 (1994/1996), which was created by Albert Sardà, the Foundation’s manager, with the main aim of premiering the works of young composers.
In terms of creativity, attention should be drawn to the relationship that usually exists between his music and the day-to-day world, often expressed through humour, as is the case of Història d’una cigarreta (The story of a cigarette - 1991), La noia (The girl - 1996), Vols fer el favor d’escoltar-ho! (Would you mind listening to it! - 1997) and Quina nit! (What a night! - 1999), among others, and occasionally through the use of sound to invoke extra-musical feelings, as in Aquàtic (Aquatic - 1991), for example. Equally noteworthy is a relationship with pure music in Tepeca (1993), which was recorded on CD by the Orquesta de RTVE (Spanish Radio and Television Orchestra). A conception of composition as more than an exclusively scientific task and a systematic avoidance of transcendentalism constitute elements of his compositional style that seem to be present throughout his work.
Aquàtic is a tribute to all those feelings evoked in us by water in its various forms.
Everything is so relative: past, present, future, etc.
Constant dialogue between the saxophone and piano. It's a reflective music that has a intimist character that invites to meditation.
Miniatures is a descriptive work and that each movement in itself tells us something we will not find in the others, a feature that at the same time serves to give a sense of unity.
The sense of humor of the author and his mordant sarcasm are reflected in the music of each of the five brass instruments, with varied counterpoints and rhythms.
This work is the result of a series of thoughts and feelings produced by reading a critique of a newly-released CD in a music magazine. The CD in question featured six works by different composers.