The variable order of the twelve tones of the chromatic scale is very present in the construction of both preludes, but simultaneously maintains an harmonic cadential substrate.
The possibilities of the piano within the grave range had been explored by several composers throughout the 20th century, but on this occasion, Soler’s music seeks out expressiveness rather than virtuosity.
Harmonices Mundi deals with the fugue in all its possibilities, often on its own, but also with preludes, associated to dances or within a partita. In this volume, the first five fugues are presented directly (in three or four voices) and it is only in the last piece that the fugue is presented with a prelude.
What is clear is that Jep Nuix masters on the most varied composition languages. In this work he uses the classical writing with absolute precision (over concrete indications on shapes, volumes..., “out of time” attacks when there is no a metronomic time reference... all in the search of the effects exposed in the titles).
Signe d’anells (2007) responds to the particular language used by Mestres Quadreny as well as the writing techniques which he has been faithful to all his life. This eloquent creation is supported by dodecaphonic elements but these are not only the unique elements...
Meditació belongs to the category of works which the author can come to feel fully identified. In this work the author gives shape to a meditative and intimate atmosphere, where notes flow slowly in a soft and serene gravity.
The pieces for piano that comprise this album originate in different eras and vital moments. They cover a wide period, between 1936 and 1952, which corresponds with great precision to the era in which the “political purging” was applied to both masters. These pieces were kept until now into the family archives of the Lamote family.
The Preludio Hondo by Lluís Benejam is a short piece which exudes happiness in 217 intense bars that make this work a real treasure.