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.

New Albums Featuring my Music

Piano & Cello Concertos

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

Sony Classical. Sony 0194399501924

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.


for Solo Violin and Sacred Temple

Performed by Vicente Cueva
Non Profit Music. NPM 1709

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.

Piano Works

Little Great Stories

Performed by Eduardo Frías.
Sony Classical. Sony 88985432042

This is the recording debut on the prestigious Sony Classical label of Madrid born pianist Eduardo Frías with the First World Recording of Spanish composer Jorge Grundman's integral for piano (1961-).

The worldwide launch of the CD included the presentation of the CD in places as important as the Carnegie Hall in New York or the Foz Palace in Lisbon. This work has received the Melómano de Oro award.

Seat and Listen

Enjoy Iagoba Fanlo and Eduardo Frías' performance in Pianolab Pearls of my Sonata for Cello and Piano dedicated to all the healthcare personnel who care for all the victims of the pandemic.