Alfonso Calderón de Castro
Like Antoni Gaudi, the architect who knew how to insufflate life to modern buildings giving them their most ardent expression, Guinjoan brings vital aesthetic elements to a language that had been lost, taking a legacy that it has its roots in the XX century with names like Robert Gerhard or Jaume Pahissa. Guinjoan’s regulatory ideas do not impose forms beforehand: they sound the necessities of the musical material and from there they set out a new path towards a new classicism. Calderón doesn’t smooth things over these pieces of works, and he does it bestowing them with numerous creative nuances. Guinjoan develops formal procedures, which from an overview like these readings, show themselves as endowed of organic fluidity, however an analytic approach lets us see their great complexity.
Alfonso Calderon de Castro
He was born in Malaga in 1970 where at a very early age he began studying music with his mother’s encouragement who was also his piano teacher as well as with Stéphanie Cambrier (who was Alfred Cortot and Edwin Fisher’s student). He nished his studies in the Conservatorio Superior de Música de Sevilla with the pianist Ana Guijarro. After nishing his training in the Conservatory he moved to Frei- bourg im Breisgau in Germany where he received improvement lessons with Professor Tibor Szasz. Later, he was a resident in Cité Internationale Universitarie in Paris where he perfected his technique with the maestros Jorge Chamine and Marie-Françoise Bucquet. Concurrently, he has attended courses and master classes in Spain as well as abroad with pianists such as Elza Kolodin, Lilya Zilberstein, Vitali Margulis, Rudolf Kehrer, Asir Rosemberg, Stephanie Cambier and Joaquím Achúcarro. In 2003, he was chosen by Juventudes Musicales de Andalucia to perform a concert tour in that Autonomous Community that marks the beginning of an international career which in- cludes concerts in Switzerland, Italy, Germany, France, Portugal, Poland and Norway. Here, we could highlight his participation in July 2007 in the festival CIMA in Tuscany (Concerti in Monti Argentario) to commemorate 250th anniversary of Domenico Scarlatti’s death. He was awarded with Interpretation Prize in 2007 given by Asso- ciation of the Collège d ́Espagne in Paris, which implied to record a CD edited by INAEM. His quality as pianist has been de ned by El Mundo musical critic Justo Romero with the following words: Pianist gifted with powerful resources which are captured in his exultant versions that are full of energy and convincing authority, whose virtues match with his hypervirtuosity; who is an experi- enced, brilliant, solid trained artist. He has been teacher in the Conservatorio Profesional de Música de Fuengirola, Conservatorio Superior de Música de Málaga and Sevilla. Currently, he is teaching piano in the Conservatorio Profesional de Música “Manuel de Carra” in Malaga, he is also the guest teacher in Curso Internazionali di Perfezionamento e di interpretazione Musicale “Musica e Arte” in Tolentino, Italy. Throughout his career, he has shown special interest in 20th and 21st century music for piano that has led him to perform works by Schönberg, Webern, Stavinsky and Stockhausen among many others.