The unit of the 4 cançons stems from their common features: cadences and melodic turns that appear at different moments. Enric Ferrer has managed to maintain a perfect equilibrium and achieve the ideal symbiosis by adapting the music to the poem it represents.
In Barcelona Revisited, the idea of movement and shifting runs throughout the piece and this forward motion is the reason for the choice of musical matter and its transformations.
The work Barocke Partita by Francesc Taverna Bech has five movements for piano and chamber orchestra: Intrata, Fughetta, Intermezzo (for piano solo), Canzonetta and Invenzione.
The Great Forced Concert of Doublebass is divided into three parts, Allegro moderato, Barcarola and Scherzo finale, and allows a great brilliance of the performer either on piano version or orchestra version.
Stabat Mater was influenced by the choral techniques that the author learned from maestros Gandolfi and Sicuri, to whom he dedicates this piece, and also the knowledge he acquired at that time from choral works such as Carmina Burana by Carl Orff, amongst others.
La Flor by Ricard Lamote Grignon, enjoy the high quality of his other works from the same era as Facècia, Boira or Enigmes.
The cantata of The Legend of St George (La llegenda de Sant Jordi) puts music to the most well-known of Catalan legends. It tells of the liberation by St George of the town of Montblanc when it was ruled by a terrible dragon.
The chamber work is exquisite and though initially it may seem unusual, the voice is treated as just another instrument which Oltra interweaved naturally with the other timbres.
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.