Name: La Llama del Amor by Juanjo Cano
Duration: 3 min 36 s
Description: Es una de las canciones que compuse para mi segundo álbum en solitario, allá por el 2011. Pero ésta pertenece a una versión que hice en 2014, La compuse para los encuentros de plenilunio que hacíamos en un centro de yoga en Liria. Sentados, alrededor de la hoguera, compartiendo entre amigos.

After I broke up with a man I was dating, I had a beautiful conversation with my daughter’s partner. They asked deep, introspective questions. I realized I wasn’t broken; we aren’t broken. We fracture. And if we let the fracturing teach and allow ourselves to find healing, we will become beautiful kaleidoscopes. If I could sing a song over humans (like a lullaby) – it would be this one. We must heal. Before I went to sleep that evening, I wrote, “Fractured”.

Fractured

Driving and determined, “Addiction” was written years after the end of an eighteen-year marriage, describing the sadness, heartbreak, and pain addiction causes.

Addiction

This dramatic piano ballad was written for my child who is Queer and describes my evolution in terms of thinking and accepting. I was taught rigid, religious, conservative views as a child. But, when my daughter began to share and question why I believed what I believed, “I listened. I grew. I expanded.” I am a different and better person because they came into the world. The song, “My Expansion”, also inspired the indie publication of my first children’s book.

My Expansion

A Balk Respray

Es una de las canciones que compuse para mi segundo álbum en solitario, allá por el 2011. Pero ésta pertenece a una versión que hice en 2014, La compuse para los encuentros de plenilunio que hacíamos en un centro de yoga en Liria. Sentados, alrededor de la hoguera, compartiendo entre amigos.

La Llama del Amor

Little Symphony No. 1, op. 31 by Cecil Effinger

Performed Sunday, May 5th, 2024 | First United Methodist Church

Conductor: Thomas Wilson
Audio/Video: Michael Lascuola
Program Notes: Ray Bono

Colorado native Cecil Effinger the wrote Little Symphony No. 1 "in the classical style of Mozart," commissioned by the St. Louis Little Symphony and intended for a balmy summer evening in the open air. He completed it in a fortnight, the opening theme having come to him "unpremeditated, spontaneous and complete" as he wrapped up an errand downtown in Denver, where in the closing days of World War II he was serving as commanding officer of Fort Logan's army band.

On 29 June, 1945, the piece was done. He dedicated it to conductor Stanley Chapple, who premiered it with the St. Louis ensemble a week later, on 6 July. Effinger wasn't quite 30 at the time. His parents were musicians and teachers, but he himself had gone in for math, getting his bachelor's in it at Colorado College before deciding to follow in their footsteps. His mathematical bent would serve him well in his other vocation as an inventor, creating both Musicwriter, a typerwriter for music notation, and Tempowatch, a stopwatch that calculates players' tempos while performing.
 A former student of Boulanger, Effinger excelled at counterpoint and choral-writing, but his large output embraced many genres and styles. Realizing that brash extremes of experimentation were not for him, or his audience, he settled on what he termed "atonal tonality" as a conservatively modernistic way of expressing himself. Never quite earning a national reputation, by the time of his death he was nonetheless esteemed as a regional composer of high standing.

The Little Symphony No. 1 gracefully bears that assessment out. The piece was taken up by various other orchestras and became one of Effinger's most popular compositions, receiving a Naumburg Award in 1959. Its tight scoring lends it a coy intimacy, and after the second movement's skittery strings, that intimacy deepens into the tenderness of the Adagio's clarinet. The echo of that yearning somehow seems to linger even after the two decisive chords that cap the danceline finale - a phenomenon that supports biographer Larry Worster's contention that Effinger was, "like many of his colleagues, an academic composer, but one with romantic inclinations in the midst of the turbulent 20th Century."

Little Symphony No. 1, op. 31 - by Cecil Effinger

Fantasy For Violin And Piano In B Major July 2022 - Normalized

02 With Fire and Sword

Resonate

Las sonatas para violín sólo Op, 27 de Eugène Ysaÿe, están consideradas unas de las mejores obras escritas para violín sólo de todos los tiempos. Es la última de las sonatas que escribió el autor allá por 1920. Cada sonata está dedicada a un violinista de su época. Ésta en concreto la dedicó al virtuoso Manuel Quiroga.

Sonata6 E. Ysaÿe

Break

Después de muchos años de participación en el rock y hevay metal, trabajando en la edición de discos y maquetas, decidí adentrarme en las turbias aguas del clasicismo. Adquirí en 2017 un violín y seducido, por los conciertos y romances de Mozart y Beethoven, acabé por introducirme en el mundo de la composición clásica. Así surgió éste trabajo de violín solo. Realizado a mitad del 2021, reescrito y grabado durante los primeros meses del 2024.

La Llama del Amor

Juanjo Cano

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