Following the principles that guide all Fleta’s works, the Sonata for Cello was written essentially to please the performer, with the conviction that if the player enjoyed performing it, then the audience would enjoy listening to it.
The unembellished construct of these compositions by Consuelo Colomer makes them optimally suited for new cellists and pianists while allowing seasoned performers to enjoy the nuanced depths of each musical passage.
In this work the composer experiments with the technique of applying sculpture to music. At the same time he incorporates improvisations with the sole purpose of letting out his feelings and constructing emotional structures, and it is then that the notes cease to have any real importance in themselves.
Gerhard's Suite comprises two movements in the form of dance, El Conde Sol with a solemn character and predominance of a binary rhythm, and Sevillana, more agitated and in a ternary rhythm.
The collection Three pieces for oboe and string quartet is, then, one of the first scores Lluís Benejam ever composed, despite which the musical language that would later characterise Benejam’s work is already present in its basic form.
Trio for violin, cello and piano no. 1 by Lluís Benejam is structured into four movements, has a duration of nearly twenty minutes and an optimistic, romantic feel.
Trio en mi by Joaquim Serra has a very classical structure as a whole and in the form of each movement: at the first place Sonata, Song at the second place, and Rondó at the third.
The Trio Concertante is divided into three conventional movements. A theme, sad and meditative in character, appears at the beginning which is later repeated at different points in the work. Apart from these brief passages, the instrumental treatment is virtuoso and rhythmic in nature.
The language of these seven short pieces by Conrad Setó is a skin-deep colorist lyricism (or a lyric colorism), musical expression at its most complete.