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Entre Arrecifes, Op. 11a By Alejandro Román
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Los arrecifes de coral son bellas formaciones marinas que sin embargo, pueden constituir un grave peligro para la navegación por aguas poco profundas. Esta pieza para piano es una... More > alegoría de lo que supone para el ser humano la existencia en la vida, que es interesante, atractiva, pero nunca es “un camino de rosas”, ya que está lleno de dificultades que hay que atravesar. "… la vida entre arrecifes…" Alejandro Román Coral reefs are beautiful marine formations. However, may constitute a serious hazard to navigation in shallow waters. This piano piece is an allegory of what it means for human existence in life, which is interesting, attractive, but it is never "a bed of roses," as it is full of difficulties that must be traversed. "... Life between reefs..." Alejandro Román< Less
Pulso Vital, Op. 49 By Alejandro Román
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Vital Pulse, Op. 49, for Bassoon. Program notes: The music, like life flows intensely through time. The sounds are born, they grow, develop and perish, supported by the "vital pulse" heart... More > interpreter. The heart, representing affections, is here, above all, representation of time ... and in life, time and pulse lead inexorably to the end ... no restatements, ... and if any, will fade in a coda dying to silence ... and music. The vital pulse represented in this piece by an insistent repeated note, gradually becomes an impulse that continues, although it comes and goes during its development. The piece is divided into seven parts, "gestation", "hatching", "boyhood", "freshness", "maturity", "old age" and "death" and is dedicated to my grandfather Manuel Román, bassoonist. Alejandro Román, Pozuelo de Alarcón, January 22, 2014< Less
Tres Preludios Nocturnos, Op. 2 By Alejandro Román
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These three pieces of youth were composed from 1997 to 2000 individually, and they evoke the night.The first, "Shores of Manzanares" was inspired by the eponymous painting by Aureliano de... More > Beruete (Madrid, 1845-1912), one of the highlights of the Spanish landscape painting. The music evokes the colors and the short course and the Madrid meandering river. The painting shows the background of Madrid with some of its most emblematic buildings, including San Francisco el Grande. It dates from 1878 and is preserved in the Museo del Prado. "Night of Light" evokes debussyan sounds, like a tribute to his "Moonlight". The final prelude entitled "Sarabande" is written without measure. The Spanish sarabande was a slow dance in three-four time that emerged in the Renaissance and later joined the "baroque suite". This music evokes the freshness and elegance, as well as the magical moments of flamenco dance. The three pieces are a tribute to the preludes for piano by Claude Debussy.< Less
Sonatina, Op. 7 By Alejandro Román
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Composed in 1999, this work for piano in three movements gets the structure a music with light character, which actually contains a much greater depth, something that is evident in the second... More > movement. First and third movements are rhythmic and dancing, around the more reflective theme about the night called "Nocturno". The first, "Energetic" presents a "jazzy" flavor and the third, "Saltarello" adding Impressionists aromas, it is built under a rondó form that closes the "Sonatina" brilliantly. I. Enérgico II. Nocturno III. Saltarelo The work is dedicated to the pianist and friend, Jimmy Lim Alejandro Roman< Less
Tres Gymnopedias Satiéricas, Op. 3 By Alejandro Román
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Written in 1997 clearly in a style close to the Erik Satie, the first of these pieces evoke the music of the eccentric French composer of the early twentieth century, the style of the... More > "Gymnopedies". For the second and third, maintaining the rhythm and character, but within a much more personal language. It is therefore a point of view somewhat satirical ("Satie-rical") of the music of Erik Satie. Alejandro Román Escritas en 1997 en un estilo claramente cercano al de Erik Satie, la primera de estas piezas evoca la música del excéntrico compositor francés de principios de siglo XX, al estilo de las "Gymnopedies". En el caso de la segunda y la tercera, mantiene la rítmica y el carácter, aunque dentro de un lenguaje mucho más personal. Se trata, por tanto, de una visión un tanto satírica ("Satie-rica") de la música de Erik Satie. Alejandro Román< Less
Catálogo de Elfos y Hadas, Op. 36b By Alejandro Román
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This suite of piano pieces is a tribute to the fairy tales and other fantastic creatures that inhabit the forests since time immemorial. In many folk traditions of various countries there are... More > allusions to those little slippery, naughty and nice beings that inhabit the inhospitable natural landscapes, but also, in the case of the household, the houses of the villagers. The work is divided into two notebooks, Elves and Fairies, whose short pieces (miniatures) drawn one by one the major characters present in the stories of several countries a descriptively, helped by a text that could eventually serve as recited accompanying music. Each miniature has a concrete way that relates to the nature or origin of each of the characters described: blues, giga, folia, nana, zambra... Although the issue refers to the fantasy, it is not only dedicated to music smaller, but also the elderly who have not lost the freshness of the power of imagination and are attracted by the ancient traditions of universal folklore.< Less
Miniaturas, Op. 1 By Alejandro Román
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This collection of eleven short pieces for piano is based on sonorities of the works of Erik Satie, specially the “Sports et Divertissements”. Every piece represents a different element... More > or thing, like a hole or crack (“Sima”), the dawn (“Amanecer”), the Madrid dance called “Chotis”, a wild blues (“Cannibal Blues”), a very light textile (“Tul”), a ferris wheel (“Noria”), a small character of a tale (“Gnomo”), the murmur of a river ("Rumor"), or a butterfly flying (“Mariposa”). The suite starts with a short "Prelude" that is varied a little time after ("Variación"). It was my first work for piano, inaugurating my catalog, and was written in 1997. Alejandro Román, December 2015< Less
Abriliana, Op. 21a By Alejandro Román
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This work for large orchestra composed by me in 2002 and expanded in 2009. The main theme of "Abriliana" was given to me by my master of composition at that time, the great Spanish composer... More > Antón Garcia Abril. About this melodic theme I composed this work in structure of "orchestral overture", which I dedicated to the master. The orchestra has very colorful effects and optimistic mood, a character reminiscent of spring, especially the month of April, and now includes "pastoral" sounds. The "Concerto for Orchestra" by Bela Bartok was in 2009 the benchmark for revising the writing of "Abriliana". The "Prague Symphonic Orchestra" conducted by Richard Hein performed this work in a recording made on December 6, 2009 in Prague Rudolfinum Theatre, home of the Orchestra, and on numerous occasions issued by a private channel of the Spanish Television.< Less
Abriliana, Op. 21b By Alejandro Román
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This piano piece is a reduction of the work for large orchestra composed by me in 2002. The main theme of "Abriliana" was given to me by my master of composition, the great Spanish composer... More > Antón Garcia Abril. About this melodic theme I composed this work in structure of "orchestral overture". The orchestra has very colorful effects and optimistic mood, a character reminiscent of spring, especially the month of April, and now includes "pastoral" sounds. The "Prague Philharmonic Orchestra" conducted by Richard Hein performed this work in a recording made on December 6, 2009 in Prague Rudolfinum Theatre, home of the Orchestra, and on numerous occasions issued by a private channel of the Spanish Television. This time, the piano version retains the strength and color of the original, although the piano gives a new look and direction, trying to keep the "raveliana" idea of writing a piece that works both in the orchestra and keyboard, as in the case of "La Valse". Alejandro Roman< Less
Ewig, Op. 58 By Alejandro Román
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"Ewig" which in German means "Forever" is the last word in "The Song of the Earth" in a descending major second motif, meaning of a sweet farewell sung by the contralto.... More > The toccata is based on this interval and the contrast represented by the chromaticity minor second, in a fight already raised from the start of the piece, and which results in sections where there are more or less predominance of one of the intervals. The character indicated, "furious, barbarous" refers to "Allegro Barbaro" by Bartok, whose theme is quoted in the toccata. Between section and section, the theme of "Ewig" appears as calm between moments of sonic storm, until the climate point it appears the sweet sound of the end of "The Song of the Earth", which is interrupted again by the dazzling appearance the toccata that takes the listener to the end, where the two intervals that are struggling to overcome, always framed by the tritone, which is merely a moderator between the two involved again. The work is dedicated to Javier Herguera< Less