Jorge Grundman
"The Composer Who Lets your Feelings Flow"
... Fanfare Magazine ...

Let Me Introduce Myself
First of all, I would like to humbly say I am sorry because there is nothing new in the music I write and, moreover, it was not even my intention. This might be the reason why I prefer to say that I consider myself a writer of music more than a composer. I just try to tell stories through the music narrative. I do this in the simplest, almost naive way possible. However, if there is something that leads me when I start writing a piece, it is to avoid communicating something tiring and boring. I want people to find my music sentimental and moving and also, as far as possible, to fancy listening to it again. I am talking about being accessible to the listener and the performers. In other words, I do not write for composers.

In fact, I think these values are pretty hidden in much of the music that is written nowadays. It seems that it is important to know the date in which a piece was written or how it should be understood before listening to it. Let me take an example: if Beethoven had never written his Symphony Nº 6, known as “Pastoral”, and someone would write it these days… Would not we have the same right to be moved and enjoy it? Why? Why would not it contribute anything new? Would it not be understood just by itself?

I think that music, as all arts, should not have sell-by date or the need of an explanation to communicate emotions. And, please, do not misinterpret me. I could not dream of comparing the faintest of my hemidemisemiquavers to the work of Beethoven. I wish I could write a quaver rest as well as he did.

But let me insist, just in case I did not express myself well: I do not mean that we should not investigate, advance and contribute something new in music, but I think it is possible that both lines of writing coexist. I do not think, then, that Verdi´s maxim “…Torniamo all antico, e sara un progreso…” (“If we come back to the old, it will be a progress”) could be applied to my work. I feel sorry if somebody approaches my scores and hopes to find a different kind of music. That was not my intention. I only try to tell stories. Or rather, I try to write music for them.

Some Quotes
New Albums Featuring my Music
Flute Works
Performed by Gili Schwarzman
Guy Braunstein. Navarra Symphony Orchestra
Eduardo Frías. Torleif Theéen
Flute Works is the my third full-length monographic work at Sony Classical, featuring a selection of my flute works, all of which have been recorded in world premiere.

Leading flutist Gili Schwarzman, pianist Eduardo Frías and cellist Torleif Thedéen are featured in this rich program. In the Concert for Flute and String Orchestra Op.31, Gili Schwarzman is impeccably conducted by Guy Braunstein with the Navarra Symphony Orcherstra.
Sony Classical. Sony 0196587484729

Piano & Cello Concertos
Performed by Pedro Halffter. Navarra Symphony Orchestra.
Eduardo Frías, piano and Iagoba Fanlo, cello.

This is the second monographic CD dedicated to Jorge Grundman on the prestigious Sony Classical label. It contains the first three world premiere recordings of three orchestral works by the composer. The Orquesta Sinfónica de Navarra under the baton of the prestigious conductor and composer Pedro Halffter, accompanies pianist Eduardo Frías and cellist Iagoba Fanlo in the recording.

This work has been awarded with the Melómano de Oro award and Record of the Month by Ritmo magazine.
Sony Classical. Sony 0194399501924

for Solo Violin and Sacred Temple
Performed by Vicente Cueva.

A partita by the name of Shoah for Solo Violin and Sacred Temple, written with the thought of moving the audience and reminding them about the Memory of the Victims of the Holocaust. The album was recorded with the “Auer” Stradivari violin. This album is available at physical format only and it is not available on digital stores. You can find it at Auschwitz exhibition.

This work has been awarded with the Melómano de Oro award and Record of the Month by Ritmo magazine.
Non Profit Music. NPM 1709