From ancient times, cosmogonies talk about chaos as the origin: it is not the previous disorder but the abyss where things finds their place to be. A distance that reminds the creation power, repeated as an echo in a creative momentum.

Thus Joan Guinjoan understands the artistic creation, where the composer always finds an abyss under his feet. An abyss that both fascinates and challenges, facing it means boldness and the necessary craft to find one’s own voice in the concert voices. Therefore, he defined composition as the challenge to face one’s self. But also, the horizon of his work was to find his roots inside himself after a long journey of more than half a century.

However, we stand in front a sort of music that it is not born from abstract speculation but from craftsmanship; it means, from de sudden meeting with musical stuff. Precisely, Guinjoan’s piano, which is provided of a sharp consciousness of musical stuff, is productive in our analysis and speculative games. In front of them, the Maestro always expresses his reservations, aware of the dangers of some creative adventures during the Post AvantGardes. That is the contradiction that leads to the creation, the one the composer confronted firmly: “the only reality in a musical piece is the auditory one.”

Alfonso Calderón de Castro, Piano

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