From ancient times, cosmogonies talk about chaos as the origin: it is not the previous disorder but the abyss where things find 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 the 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 Avant-Gardes.

In this work, Alfonso Calderón de Castro sets himself up as an interpreter in the Greco-Latin sense of the term: one destined to reveal what remains hidden. It does so by revealing hidden aspects of Guinjoan’s piano literature, allowing us to take these early works as microcosms of his entire catalogue. His piano navigates with personality and aesthetic intelligence, embodying the composer’s motto, that is the instrumental humanisation from the subtle exploration of all parameters, without forgetting the communications among composer, performer and listener. In short, the pianist gives us in this work an anthology destined to the timelessness of what it is classical, capable of withstanding the passage of time with the elegance of a caryatid.