Padrós chose titles with anonymous melodies, which he was complementing with a good amount of counterpoint and modal harmonies, and are an unusual accompaniment for piano.
Blusing for Marcel tries to merge jazz features into Moisès Bertran' style, which is made of a vertical thinking of sonority, a love for expressive melody, a more or less traditional conception of form and rhythm, and a general melancholic ambiance, typical of the Catalan character of the author.
Contrasts of light and shadows, like those you might find inside a kaleidoscope, where mirrors reflect the shards of glass.
The eight short movements of Calidoscopi I by Francesc Taverna-Bech emerge around a set of twelve sounds –almost never followed in the original order– and a rhythmic motif.
Five short ideas for a full keyboard. They are small moving passages that convey certain emotions.
In this collection the author has expressed his vision of the night when the city is silent, and the vision of the moon looks down on us and lights our way.
The first and last of the five pieces may be considered as an interplay of expressive contrasts. The second is an invention of an atonic character. The third is an kind of anti-romantic waltz, while the fourth piece is the simple evocation of the night with its murmurs and fading sonority.
The expression of Soler’s music takes the lead in each bar of the work. The priority the author gives to the expressive act translates into a large number of precise indications for the interpreters which go from pianissimo with four ps, to fortissimo with four fs, notes on the phrasing (even fingerings), and the search for concrete sounds and textures.
The Concerto for piano and chamber ensemble was composed in 1963 and was awarded the Schola Cantorum of Paris’ Composition Prize. It is a rather ‘raw’ piece. The piano part is most impressive but the thing that connects this concerto to the rest of the pieces of Guinjoan, is its rhythm.
Dansa is an extraordinarily brilliant piece, with admirable piano writing. The Tres Peces Breus pieces were composed in 1932, and their harmonic language is close to the vaporous and refined sonorities of Frederic Mompou’s music. The three pieces share an interesting mirror structure (ABCBA), a variant on the traditional ternary Lied.
The impressionism of the first compositions of Xavier Gols develops towards a more personal style where the piano score becomes denser and more concentrated.
Dedicatòries happiness oozes from the music: the happiness of meeting friends from Alcoi after many years – a city that is devoted to the pianist and composer who was born there, and to whom these pieces are dedicated to.