DISCOGRAPHY

The music of Josep-Maria Balanyà is recorded in 29 albums, published under the labels Laika Records ("DON’T MIND", "UN PEU À GAUCHE, SVP”, “SONATESKAS” & “ELEMENTS OF DEVELOPMENT”), Música Secreta, Turicaphon, Taller de Músics, RTS, AC, Hazard Records, CS Creative Sources, Discordian Records, Creative Works Records and Crazylane Records.

Undress & Fly

Josep-Maria Balanyà, piano

  • 1 Easy Ramble, Not Easy 4:58

    2 Relaxed Discussion? 7:49

    3 Almost Romantic Poly-Discussion 7:30

    4 Caress Carefully 4:58

    5 Slap Gently? 3:19

    6 Nudo Antico 4:50

    7 Look, Listen, Touch 3:13

    8 Smell, Touch, Fly 4:34

    9 Jump And Fly Away 6:22

    Total running time 47:33

    All compositions by Josep-Maria Balanyà. Recorded June 27, 28, 2024 at Salinas Studio, Eivissa, Balearic Islands, by Joachim Kühn. Mixed and mastered March 5, 2025 at FCM Studio by Ferran Conangla. Steinway C, tuned by Toni Pérez de Olaguer. Photo: Armin Kuhnberg. Graphic design by Carlos Santos. Produced by Josep-Maria Balanyà. Executive production by Ernesto Rodrigues.

    Thanks to: Joachim Kühn, José Luís Greco, Ferran Conangla, Chema Chacón, Dr. Gabriele Lohberg. (P) + © Creative Sources 2026

    Liner notes
    In these solo pieces, improviser Josep-Maria Balanyà displays his characteristic dynamic approach and exploratory style at the piano. His spontaneity and intuition allow the creative process to flow freely. This exceptional exploration ultimately leads to an abstraction, an unexpected destination, a reflection that captivates the listener.

    With his brilliant technique, Balanyà traces a sonic sketch in the opening phrase that rapidly evolves. His agile fingers transform his music into a dizzying playing ("Relaxed Discussion?") or a dialogue between his hands ("Smell, Touch, Fly," "Poly-Almost Romantic Discussion"). The more sensitive, poetic aspect, which makes silence a central element, like another note, is also present in "Look, Listen, Play." "Undress and Fly" is an album where subtlety, nuance, balance, and emotion resonate freely, waiting to be heard.

    Josep-Maria Balanyà, born in Barcelona and residing in Brussels, has recorded 29 albums on European record labels. He has been involved in interdisciplinary projects for more than forty years in the fields of contemporary music, free improvisation, performance, painting and photography.

    Chema Chacón, “Oro Molido” magazine.

    Critic
    Balanyà plays with great momentum, bursting with ideas, and lets these improvisations gravitate with their own inner logic into instant, thoughtful compositions, often spiced with a touch of irony (“Almost Romantic Poly-Discussion”), or the rhythmic drive of Keith Jarrett’s solo journeys (“Nudo Antico”). He blurs all distinctions between contemporary music, minimalism, and free improvisation, allowing himself to be swept by the immediate, sometimes abstract feelings, fleeting insights, and observations. Balanyà calls this music “an abstract interpretation of human feelings throughout its endless history of love and hate”.

    Eyal Hareuveni, May 6, 2026
    “Percorsi musicali” (magazine dedicated to an orientation toward and keeping current with contemporary music in the expressive forms that belong to our time)

 

Natural Born Structures

Jürg Solothurnmann, saxes
Josep-Maria Balanyà, piano

  • 1 Five Easy Pieces 2 4:02
    2 Scratches & Batches 4:16
    3 Face To Face 6:40
    4 From Above 7:04
    5 Groc (Yellow) piano solo 4:16
    6 Dream Reader 8:30
    7 Assemblage - ss solo 5:30
    8 Pas De Deux 3:41
    9 The Last Bop 6:27
    TOTAL TIME 50:26

    Jürg Solothurnmann, soprano & alto saxophones
    Josep-Maria Balanyà, piano

    Spontaneous compositions by Jürg Solothurnmann (SUISA) and Josep-Maria Balanyà (SGAE), excepting “Assemblage” by Solothurnmann and “Groc (Yellow” by Balanyà

    Recorded at the Studios of Swiss Radio SRF, Zürich, Switzerland, May 19, 2019.
    Recording and mixing: Michael Brändli at Hardstudios Winterthur.

    Cover design: Umut Çačlar. Photos: J. Solothurnmann and Michael Brändli.

    Produced by Jürg Solothurnmann
    Executive producer: Peter Bürli, SRF2

    © 2022 Creative Works Records, Root 6037

 

EscletXa

Josep-Maria Balanyà: (sometimes prepared) piano
Marcel·lí Bayer: baritone sax

  • 1 Abisme
    2 Processó

    Marcel·lí Bayer, baritone sax
    Josep-Maria Balanyà, (sometimes prepared) piano

    All music was improvised.

    Recorded live on July 3, 2019 at Nota 79, Barcelona by Marcel·lí Bayer

    Mixed and Mastered by Marcel·lí Bayer
    Cover photo by Marcel·lí Bayer
    Cover design by Marcel·lí Bayer

    EscletXa is based on a poem by Guim Valls from his book “La mà dins la roda” (Viena Edicions, 2017)

    Released October 29, 2019
    © 2019 Discordian Records

 

Furious Yellow

Josep-Maria Balanyà, piano / Ramón López, drums

  • Josep-Maria Balanyà and Ramón López: improvised music that includes the most radical jazz, experimentation, ethnic music and contemporary avant-garde expression. Absolute freedom and innovation in the hands of two strong musical personalities, two performers whose resonance in the improvised music scene means that their concerts arouse great interest.

    1 New Celestial 4:30

    2 The Door 5:39

    3 Four Winds 6:03

    4 La Rivière Rouge 4:25

    5 Texturologie 4:38

    6 Yellow Drums 4:06

    7 Three Times Slower 5:44

    8 Furious Yellow 6:11

    9 Yellow Piano 3:09

    10 Els Segadors 8:45

    Total running time: 53:10

    ©
    2, 3, 4, 5, 7, 8 by Josep-Maria Balanyà & Ramón López
    1 & 9 by Josep-Maria Balanyà
    6 by Ramón López
    10 Popular Catalan Song

    CS CREATIVE SOURCES RECORDINGS 627 CD

    Recorded live at DADA Studio, Brussels, Belgium, July 19, 2018

    Mastered at FCM Studio, Barcelona, January 18, 2019, by Ferran Conangla

    Produced by Josep-Maria Balanyà and Ramón López

    Executive producer: Ernesto Rodrigues

    Thanks to: Aïda Martínez Prat

    www.balanya.net www.ramonlopez.net

 

Photo: © Elena Márquez

Don’t Mind

Josep-Maria Balanyà, Solo Piano

  • 1 Don't Mind 9:52
    2 Archaic Rubbers 5:57
    3 Celestial 5:41
    4 Soul Beaters 7:34
    5 Not So Soft Talk 9:12
    6 A Closer Furniture 9:45
    7 Minimal Chant 1:55
    8 Don‘t Slap, Slap 8:01

    Total Running Time: 58:02

    All compositions by Josep-Maria Balanyà

    In October 2014 the Catalan pianist Josep-Maria Balanyà spent three days recording for his new album “Don’t Mind”. The evening of the third day he gave a concert which was also recorded. All the sessions and the concert took place in “Sendesaal”, the wonderful concert hall in Bremen (Germany), praised by Keith Jarrett.

    From all these recordings Josep-Maria Balanyà has chosen eight tracks for this album. The mastering was done in mid-February 2015 by Renate Wolter-Seevers, who just won the Grammy award.

    Released September 1st, 2015.

    Recording: Sendesaal Bremen, October 14-16, 2014

    Producer Radio Bremen: Marita Emigholz

    Coproduced by Peter Cronemeyer

    Executive Producer: Josep-Maria Balanyà

    Recording Producer and Editing: Renate Wolter-Seevers

    Recording engineer: Klaus Schumann

    Concertlight: Willi Klose

    Cover photo © by Elena Márquez

    Other photos © Josep-Maria Balanyà

    Thanks to:Gabriele Deakin, José-Luis Greco, Marita Emigholz, Renate Wolter-Seevers, Peter Cronemeyer, Willi Kloose, Charly Plinke.

    Pianist, composer, sound artist, improviser, sound researcher, university lecturer - these are just some of the roles which Josep-Maria Balanyà has filled over the past few decades. In his new album “Don’t Mind”, this multi-talented Catalan takes the listener into exciting, fascinating soundscapes which are produced solely with his grand piano and the percussive utensils and materials with which he adapts its sound.

    Balanyà’s love of musical experiments started when he was boy. Born in Barcelona in 1949, he studied the piano and sang in the church choir, during which time he devoted himself to the percussive investigation of everyday objects. “Even then I found it fascinating, examining the tonal qualities and characteristics of whatever I had to hand”, Balanyà recalls. Whether pots, cutlery, bed frames, metal or wood panels - nothing was safe from his experiments.

    Now the composer is in his 60s, but he has retained his childish curiosity. This is especially true in regards to his work with his main instrument. “The piano is a diverse playground for me, a grand toy that I thoroughly explore”‚ says Balanyà. Anyone who looks around on his website, will quickly realize that this statement is to be taken literally. A video clip shows him working under his piano like a car mechanic, going at the powerful instrument with mallets. His concerts are always performances in the true sense of the word.

    “Don’t Mind” is Balanyà’s fourth album released by the German Label Laika Records. The album title can be regarded as a friendly invitation to let the pieces speak freely to the open-minded listener. Those who follow this advice will be rewarded with exciting, diverse and unique soundscapes. Much of the time, Balanyà plays in the orthodox manner (on the keys of the piano), and sometimes he uses his voice for support - as in “Minimal Chant” or “Don’t slap, slap”. However, his special interest is music for prepared piano in which the Catalan can let his musical imagination run wild.

    In “Archaic Rubbers” he has mounted small pieces of rubber between the 12 bass strings of the grand piano, a preparation with which he elicits from the instrument a mysterious, muffled sound, reminiscent of a marimba. In “Soul Beaters”, wooden sticks of various lengths and thicknesses have been placed upright between the strings and Balanyà plays in the interior of the instrument. Not only are the sounds produced remarkable; the effect on the onlooker is uncanny. Not one key is touched and it appears as if the piano is played by art of magic. When asked exactly how he creates these strange sounds, the otherwise talkative Catalan is evasive: “I subscribe to the philosophy of illusionists: fascinate your audience with your art, but keep your tricks to yourself”.

    The result is “Don’t Mind”, produced in cooperation with “Radio Bremen” (Germany) under excellent conditions: Three days of recording time in Bremen in a famous broadcasting hall, the unique acoustic properties of which have been praised by jazz legend Keith Jarrett. Recent Grammy winner, Renate Wolter-Seevers, is responsible for the remarkable subtleties of the recording. All round, Balanyà’s album is a first class listening experience.

    Label: Laika-Records / Label Code 07577 Genre: 208 ClassicFormat: CD, 08 Title, 58:02 minutes Catalogue nº/UPC: 3510324.2 / 40 117 86 15 3244

  • Jazz'N'More MAgazin, Switzerland
    March/April /2016
    CD “Don't Mind” Josep-Maria Balanyà (piano)
    Laika Records
    Recommendation of the month / 5 stars

    When hearing the Catalan Josep-Maria Balanyà playing for the first time or seeing him conducting an improvisational orchestra flailing arms and legs like a wild dancer you go amazed: Can you do this? - Yes, he can. And everything resolves in an infectious laugh. Therefore, this witty, dramatic solo CD is recommended to all who complain of dryness and heavy thoughts of the avantgarde.

    In the 1970s, when the electronic keyboards and synthesizers arrived, it was believed to be the end of the glorious era of the grand piano. This production - the fourth Balanyà’s for the label Laika - shows excitingly that the possibilities are far from exhausted. Yes, the achievements of electronics even have inspired the pianists new. Balanyà – once a graduate of the Swiss Jazz School - has blossomed in the last 30 years into a versatile and highly communicative enfant terrible who also enjoys to dupe the listeners' expectations. Apart from playing the piano and he always found it fascinating to knock and drum around on all commodities.

    The child in the man has extended the piano into "a toy that I fundamentally explore:" Accordingly, in "On A Closer Furniture" he works the piano case with bare hands and spontaneously elicits it textured sounds that sometimes resemble to the nightly rumblings of martens in the attic, sometimes an importunate insect. Far from clean intonation and belcanto, also his voice becomes an energetic sound.

    Making his mostly improvised recordings at Radio Bremen, Balanyà could use two grand pianos: one for the conventional play and one with inventive preparations, which produced very differing results. "Archaic Rubbers" for instance relies extensively on muted sounds caused by rubber pieces clamped between the strings: Isolated hard strokes on the strings are starkly contrasted by a soft “mumbling”. Out of this grows a quasi polyrhythmic network, which also reveals Balanyà’s jazz roots. "Soul Beaters" begins with grinding sounds on the strings, which resemble an over-amplified electric bass. This develops into something resembling a pygmy dance a bit later.

    The play on the keys ranges between chromatic clusters and almost baroque moments (Don't Mind). In general, the initial idea mostly evolves into a multi-part but consistent design and not seldom ends suddenly. Quite impressively, Balanyà starts "Celestial" in the high register with a chromatic chord and takes time to hark to each note. Technically polished and with a sense of nuance he especially likes it expressively and rich in contrast. He is staging the improvisations with an agility you do not necessarily attach to a man in his mid-sixties. With Bud Powell's words: Un poco loco.

    Jürg Solothurnmann

  • Wer Josep-Maria Balanyà erstmals spielen oder mit einem schieren Veitstanz ein Improvisationsorchester dirigieren sieht, staunt: Darf man das? Ja, er schon. Und alles löst sich in einem ansteckenden Lachen. Darum sei allen, die über Trockenheit und Gedankenschwere der Avantgarde klagen, diese listige, dramatische Solo-CD des Katalanen empfohlen. Als in den 1970er-Jahren elektronische Keyboards und Synthesizer aufkamen, wähnte man sich am Ende der gloriosen Ära des Konzertflügels. Diese Produktion – die vierte Balanyàs für das Label Laika – zeigt packend, dass die Möglichkeiten noch lange nicht ausgeschöpft sind. Ja, die Errungenschaften der Elektronik inspirieren die Pianisten neu. Balanyà – Absolvent der Swiss Jazz School – hat sich in den letzten 30 Jahren zu einem vielseitigen und hochkommunikativen Enfant terrible gemausert, das auch gerne die Hörerwartung düpiert. Neben dem Klavierspiel klopfte und trommelte er seit jeher auf allen Gebrauchsgegenständen her- um. Das Kind im Manne erweitert das Klavier zum ”Spielzeug, das ich von Grund auf erforsche”. So bearbeitet er in ”A Closer Furniture” das Klaviergehäuse mit blossen Händen und entlockt ihm spontan strukturierte Sounds, die mal dem nächtlichen Rumoren von Mardern im Estrich, mal einem zudringlichen Insekt gleichen. Auch seine Stimme wird – weit weg von Intonation und Belcanto – zum energievollen Sound.

    Bei den total improvisierten Aufnahmen bei Radio Bremen benutzte Balanyà zwei Flügel: einen für konventionelles Spiel und einen mit erfindungsreichen Präparationen, mit denen er sehr unterschiedliche Ergebnisse erzielt. Mit Gummistücken zwischen den Saiten entsteht beispielsweise ”Archaic Rubbers”: Isolierte harte Schläge auf die Saiten stehen in krassem, Kontrast zu einem leisen ”Murmeln”. Daraus wächst ein quasi polyrhythmisches Geflecht, das auch die Jazzwurzeln Balanyàs offen- legt. ”Soul Beaters” beginnt mit geriebenen Sounds auf den Saiten, was tönt wie ein übersteuerter E- Bass. Daraus wird später quasi ein Pygmäentanz. Auf den Tasten liegt die stilistisch-technische Span- ne zwischen chromatischen Clustern und fast baro- cken Momenten ("Don't Mind"). Generell folgt dem Einfall am Anfang meistens eine manchmal mehrteilige, aber immer konsequente Gestaltung und nicht selten mit einem plötzlichen Schluss. Eindrücklich, wie ”Celestial” mit einem chromatischen Akkord von oben beginnt, und wie er den einzelnen Tönen nachlauscht. Technisch geschliffen und mit Sinn für Nuancen liebt es Balanyà vor allem expressiv und kontrastreich und inszeniert alles mit der Agilität, die man einem Mittsechziger nicht unbedingt zutraute. Mit Bud Powells Worten: Un poco loco.

 

Un Peu À Gauche, SVP

Josep-Maria Balanyà, solo extended piano

  • Josep-Maria Balanyà, solo extended piano

    Total Time: 72:33

    CD Laika Records, Bremen, Germany

    nº 3510231.2

    Recorded at Radio Bremen,

    19th to 22nd March 2007

    1 They burn your inner peace 08:18

    2 À gauche I 06:55

    3 Ritual of silence 05:54

    4 Daytime stroll 02:57

    5 À gauche II 02:43

    6 They annihilate you 06:06

    7 Ritual secondo 05:19

    8 They skin you alive 07:19

    9 Night-time ramble 05:23

    10 They destroy what you love 06:54

    11 They rip out your entrails 04:59

    12 Survival 05:47

    13 After 03:22

    TOTAL TIME 72:33

    “Un peu à gauche, svp” (A little to the left, please) is a work for solo piano, composed of eleven parts. Eight of them are played in an orthodox manner, i.e. exclusively on the keys. The other three are played using extended techniques: manipulating the strings and using different parts of the entire body of the piano.

    The work is based on experiences of urban protest demonstrations; it was created in Barcelona in 2003, during the height of the mass protests against the Iraq War. Later on, the work was reworked until the actual form was reached.

    This music does not pretend to explain the feelings of an observer of wars, nor to document nor try to evoke the sensations experienced by those who live in areas of conflict. It simply wants to give an abstract version of the feelings of a human being in the context of his eternal story of love and hate. With this music I would like to make the listener feel like he or she is being caressed and skinned alive at the same time.

    I see the grand piano as a great musical instrument and at the same time as a toy. When I make music, I feel like a child who plays absolutely concentrated, without any shyness or complexes, and enjoys each and every moment of the game. The piano is an exclusive toy full of secret and surprising sounds. When you play with it, it plays with you.

 

Water And Soul

Géraldine Naus, soprano
Josep-Maria Balanyà piano, vocal effects

  • 1 Opening

    2 Early fog

    3 Clapping 1

    4 Daily water

    5 Your breath

    6 Intriguing interchange

    7 Another water

    8 Game of animals 1

    9 Our golden ritual

    All compositions / Improvisations by Geraldine Naus and Josep-Maria Balanyà

    Recorded live at Crazylane Studio Brussels

    May 7th, 2014

    © 2014 Crazylane Records

 

Oxymoron Orchester

Oxymoron Orchester & Josep-Maria Balanyà

  • Josep-Maria Balanyà: dirigent
    Marian Arbenz: Stimme
    Pelayo F. Arrizabalaga: Bassklarinette, Turntables
    Brigitte Aschwanden: Sprecherin
    Christian Bucher: Schlagzeug
    Dave Gisler: Gitarre
    Bernhard Göttert: Violoncello
    Werner Iten: Percussion, B-Horn,Flöten, Stimme
    Herbert Kramis: Kontrabass
    Florian Nussbaumer: Trompette
    Beat Unternährer: Tuba
    Barba Wagner: Electronics
    Christof Zurbuchen: Alto-Klarinette

    Instant Composition & Conduction:
    Josep-Maria Balanyà

    Recorded live at Theater Casino Zug Grosser Saal, Zug, CH
    Sunday, January 27th, 2013

    Mastering and Production:
    Crazylane Studio, Brussels, Belgium
    © 2013 Crazylane Records

 

Summer Evening At Cafe OTO

Hannah Marshall, cello
Josep-Maria Balanyà, extended piano, vocal effects

  • 1 movement I

    2 movement II

    3 movement III

    4 movement IV

    5 movement V

    Compositions / Improvisations by
    Josep-Maria Balanyà and Hannah Marshall

    Recorded live at Cafe OTO, London, UK
    September 9th, 2012
    © 2012 Crazylane Records

 

Strings & Things

Josep-Maria Balanyà, extended piano
Peter Jacquemyn, double bass, vocal effects

  • 1 starting

    2 relaxing

    3 strings & things

    4 things & finale

    Compositions / Improvisations by Josep-Maria Balanyà and Peter Jacquemyn

    Recorded live at La Cellule 133a
    Brussels, Belgium
    June 7th 2012
    © 2012 Crazylane Records

    Waves of the most complex and dense textures. Piano and double-bass sound like an army of grumblers, like the earth is shaking, like the sky is ripping open.

    As the waves recede, the details of their intricate constitution become clearer - but only for a moment before the next onset. The piano is all over the place, the double-bass sinks below, weaves around or flies above it. Sounds I can't make out where they come from. Surprise flashes. The trip leaves me breathless.

    José Luís Greco, composer
    Madrid, 5th June 2012

 

Aguas Internacionales

Josep-Maria Balanyà, piano
Pelayo F. Arrizabalaga, turntables, bass clarinet, alto sax

  • Josep-Maria Balanyà / Pelayo F. Arrizabalaga

    Meeting49

    1 The first wave 2:02
    2 Atlántico Norte. 4.50
    3 Reyerta / Amarras. 4.25
    4 Mozambique. 4.00
    5 On the docks 3.50
    6 Sirenas inquietantes 6.00
    7 Love life. 8.04
    8 Dónde están, Robert Wyatt? 8.15
    9 Brigitte. 3.40
    10 The second wave 5.54

    TOTAL TIME 51.00

    CD Crazylane private editions

    Live recorded October 30th 2005 at the Festival Periferias, Huesca, Spain

 

Festival de Música Contemporánea Lima, Perú

Colaboration with two pieces by composers from Peru.

  • Colaboration with two pieces by composers from Peru.

    "Aires hispanos", by Jorge Garrido Lecca, for piano, guitar and dance.

    "Espergesia", by Abraham Padilla, for solo piano and choreography.

 

In Tromissió

Josep-Maria Balanyà, piano
Cristina Casanova, FMol synthesizer

  • Duration: 30:53 minutes

    Hazard records N.CD 040

    Live recorded at Nits Digitals Festival, Mai 14th 2004, Vic, Spain

 

Esclat Contra Les Guerres (De Dins Enfora)

Montse Vellvehí, actress
Josep-Maria Balanyà, music, piano

  • Recorded in Barcelona, Spain, March 2003

    Crazylane, private edition

    1 1:10 1 El germà de Catul (7) Jordi Cornudella

    2 4:36 2 L’ombra del nombre Pere-Eugeni Font, Víctor Sunyol, Montse Vellvehí

    3 7:20 3 Als nascuts després Bertolt Brecht

    4 2:03 4/1 Familiar Jacques Prévert

    5 1:10 4/2 Cartilla militar alemanya Bertolt Brecht

    6 1:04 4/3 General, el teu tanc Bertolt Brecht

    7 1:05 4/4 El meu germà era aviador Bertolt Brecht

    8 2:14 4/5 Als meus compatriotes Bertolt Brecht

    9 1:51 (Intro piano)

    10 0:33 5/1 Els bons jardiners Erich Fried

    11 2:04 5/2 Balada Bertolt Brecht

    12 1:49 5/3 Quiet, cor meu Johannes Robert Becher

    13 1:41 5/4 1940 Bertolt Brecht

    14 2:28 5/5 La trinxera (fragments) Kurt Tucholsky

    15 8:20 6 Diaspora (solo piano) Josep-Maria Balanyà

    16 1:23 (Intro piano)

    17 2:18 7/1 Gran imprecació Tankred Dorst

    18 3:29 (Intermezzo percussió)

    19 0:53 7/2 2 La pau de l’abisme Joan Brossa

    20 1:50 7/3 3 Esquerra dreta esquerra Erich Fried

    21 3:51 8/1 Cançó en la sang Jacques Prévert

    22 1.59 8/2 Final i començament Wislawa Szymborska

    23 3:44 8/3 Faula Marc Granell

    59:38 TOTAL TIME

 

Pianos & Fortes / avuimúsica 4

Josep-Maria Balanyà, prepared piano

  • 2003 Barcelona (AC 031)

    Solo piano performance. Participation with this work in this CD, which contains pieces for piano by different composers.

    Live recording on 2000 at EKA, Europäische Kunstakademie Trier, Germany Solo piano performance.

    "Y-akt-y benu" Op. 86 Prepared piano 12:57

 

Estrats I Platges

Josep-Maria Balanyà: piano, recordings.
Andrés Lewin-Richter: electronics, mastering (Studio Phonos).

  • Josep-Maria Balanyà / Andrés Lewin Richter

    Duration: 59:01

    CD Crazylane private edition, Mai 2002

    Soundscapes recorded at the coast side of Vilassar de Mar, Barcelona, Spain and at the coasts of the Isle of Juist, North Sea, Germany. Project created for an exhibition of the painter Uwe Geest.

    Josep-Maria Balanyà: piano, recordings.

    Andrés Lewin-Richter: electronics, mastering (Studio Phonos).

    Cover: Uwe Geest.

    1 Juist Ost, marea baixa 3:27

    2 Maresme estrats 8:21

    3 Juist Nord, marea alta 3:25

    4 Estrats i éssers 10:15

    5 Interludi 2:46

    6 Estrats ressonants 4:53

    7 Souvenir de Juist 3:26

    8 Estrats i platges 10:02

    9 Relax a Juist 3:14

    10 Relax a Vilassar 6:01

    11 Relax 3:10

 

Aqua Aeterna

Josep-Maria Balanyà / Walter Quintus
piano / live electronics and pre-recorded voices

  • Duration: 60:29 minutes

    CD Crazylane private edition

    Recorded at CMP Studio, Zerkall, Germany

    Sound engineer: Walter Quintus

    1 Exposició 5:54

    2 Alba 9:11

    3 Inici 3:29

    4 Aqua aeterna 7:10

    5 Koru Koru 9:15

    6 Petit commité 5:20

    7 Klonda 2:03

    8 Contemplació 5:38

    9 Ablucions 5:34

    Josep-Maria Balanyà has been met in different occasions, people from different countries. He was very interested into the sounds, the timbres of the languages of these people and asked them to speak something about their original regions, or a tale or a story.The recording of these original voices was made, some of them in their original places, some other in places where the speakers where leaving or just travelling. These speakers are artists, musicians, others are workers on the country side, and others are emigrants that conserve their traditions and the accent of their regions.The voices you can hear in this CD where recorded by JMB during different periods between 1997 and 2000. This material was selected and mastered in studio. Later on, Balanyà has made some piano recording sessions. During the recording, the previous voices material was inserted live by the sound engineer Walter Quintus in different moments, according notations between Balanyà and Quintus. So did, the voices were married with the piano part, and the result is what you hear now on this CD. All the recording sessions were live, without overdubs. The source of all the sounds coming in this record is only a grand piano and the voices. The special effects are created by Quintus, using digital soundboard in real time.Josep-Maria Balanyà and Walter Quintus collaborate together since 1994. They have been experimenting different possibilities of relation between acoustic instruments (piano, typewriter, percussion objects, voice...) and electronics. They made several recordings, among them the CD ”Elements of Development”, ”Sonateskas” and others.

 

Sommier Primo

Josep-Maria Balanyà, piano

  • Duration: 67 minutes

    CD Crazylane private edition

    Live recording at EKA, Europäische Kunstakademie Trier, Germany

    Solo performances: works for piano, sound sculptures, tools for fine arts.

    1 Introduction 2:14

    2 2552 12:17

    3 Sommier primo 7:45

    4 Ke camina andantino 7:10

    5 Leinklang Wandito 9:05

    6 Cinco exteriores ke cuelgan 12:26

    7 Sommier secondo: the woman who went to bed early 7:17

    8 Zugabe: the woman who went to bed and waked up 3:20

    9 Pièrre Weber’s sculpture students 31 de juliol de 2001

 

Kratz & Klang

Josep-Maria Balanyà, piano

  • Duration: 58:52

    CD Crazylane private edition

    Live recording at EKA, Europäische Kunstakademie Trier, Germany, during different concerts between 1997 and 2000

    Solo performances: works for piano, rests of pianos, sound objects.

    1 Metallika vespertina

    July 2000, for Klavibaltikum (mechanics of upright piano and keyboard of grand piano) 9:16

    2 ZLS Ouverture

    July 1998, for piano soundboard and tape 6:16

    3 Kratzklang etude

    July 1998: for engraving tools and copper plates 10:20

    4 Y-akt-y benu

    July 2000, for prepared piano 12:57

    5 Interior numero uno

    June 1999, for piano harp and tape 12:20

    6 Metallika nocturna

    July 2000, for piano vocal effects 5:11

    7 Kollektiv zugabe

    July 2000, for piano keys and audience

 

Sonateskas

Josep-Maria Balanyà, solo piano

  • Total time: 64:14

    CD Laika Records, Bremen, Germany. 3510110.2

    Recorded at CMP Studio, Zerkall, Germany.

    Sound engineer: Walter Quintus

    Track 6 Piano and Typewriter

    Track 10 Piano and vocal effects

    1 1 Sonatesca prensil polyphonica I 3:03

    2 Sonatesca prensil polyphonica II 2:01

    3 Sonatesca prensil polyphonica III 1:56

    4 2 Y cuando oigas el agua caer 7:57

    5 3 No jungle? 8:05

    6 4 Good work for bad pianos 9:53

    7 5 Ancestral spring I 4.48

    8 Ancestral spring II 5:28

    9 Ancestral spring III 4:30

    10 6 Sonatesca gutural I 5:05

    11 Sonatesca gutural II 6:33

    12 Sonatesca gutural III 3:41

    TOTAL TIME 64:14

 

Ultramarinos 451

Josep-Maria Balanyà, prepared pianos

  • Duration: 44:04

    CD Nova Era NCM5 Barcelona

    Live recorded on 1997 at the

    Fundació Joan Miró, Barcelona, Spain

    Piano performance for two pianos (one prepared) and one pianist.

    Respectfully dedicated to John Cage

    1 interactive grazioso 4:42

    2 right piano allegro 9:09

    3 left piano rituale 11:49

    4 right piano dolce crescendo 22:25

    5 on strings 4:35

    6 interactive animato 2:09

    7 free left & right 3:19

    8 catharsi con dolore 4:53

    Venezuela, September 1994. “Ultramarinos 451” is the confrontation between natural and artificial, between savage and intellectual. U451 represents the resulting distortion when human beings are up against Nature's laws. Neointestinal dilemma and catharsis.

    Work for one pianist and two concert pianos (one tuned / one accurately prepared). Two interactive movements offer the audience the possibility of participation. The plastic-visual and surprise components also play an important role.

    “Ultramarinos 451” Opus 50 consist of eight movements. Duration: 50 minutes.

    Respectfully dedicated to John Cage. Released on CD by Nova Era NCM5 (Barcelona 1997).

    Music, direction, stage design, performance: Josep-Maria Balanyà

 

Elements of Development

Josep-Maria Balanyà, piano
Walter Quintus, Digital Soundboard and recording

  • Duration: 62:26

    CD Laika Records, Bremen, Germany. 3510070.2

    Recorded on 1995 at CMP Studio, Zerkall, Germany.

    Sound engineer: Walter Quintus

    Solo piano performances, two of them with live electronics

    1 elements of development number three 5:33

    2 side effects 4:05

    3 macaccos macaccos piano i electròniques en temps real 6:24

    4 elements of development number four 5:06

    5 introspecció stomacal 2:39

    6 estudi per a piano, pinxitos I tub de plàstic 4:20

    7 impromptus interruptus 4:07

    8 mar 5:29

    9 profundus tremens 13:30

    10 free energy 4:56

    11 gentle ghost & ganso 5:47

 

Grünes Gesicht
Vier Hände Verrückt

Josep-Maria Balanyà / Christine Reumschüssel, piano four hands

  • Recorded in Bonn, Germany, February 1995

    CD Crazylane private edition

    1 Intro

    2 None plus Entwicklung

    3 Ostinatos für Alle

    4 Largo non largo

    (solo: Christine Reumschüssel)

    Antwort und tremolo

    5 Triolet plus Entwicklung

    (solo: Josep-Maria Balanyà)

    6 3 gegen 4

 

L’Espina

Josep-Maria Balanyà, piano

  • Duration: 51:18

    CD Taller de Músics TM 004 Dismedi, Barcelona, Spain

    Recorded on 1993 at Estudis Moraleda, Barcelona

    Solo piano performances

    1 Pescadito del Cantábrico 5:14

    2 El Puerto de Pajares 5:41

    3 Ballade pour un cochon malade 6:25

    4 Free Development Number One 2:15

    5 Diáspora 7:20

    6 AM AT PM 6:19

    7 L'Espina 8:21

    8 Frederic 9:43

 

Generazioni

Josep Maria Balanyà, piano
Claudio Pontiggia, French horn

  • Jazz della Svizzera Italiana

    1988 Lugano, Switzerland (LP RTS1004)

    Participation in this CD by Italian-Swiss artists, together with Claudio Pontiggia.

    Recorded on 1986 at the Radio Televisione Svizzera Italiana.

    Josep Maria Balanyà, piano

    Claudio Pontiggia, French horn

    ”Beatrice” (Sam Rivers)

 

Tierra Firme

Collaboration with the Mexican group Tierra Firme

  • 1987 STF Mexico DF, Mexico (LP 5TF0187)

    Recorded in Mexico D.F. in 1986

    Collaboration on electric piano in one piece with the Mexican group Tierra Firme

    Bernardo Ezeta, bass / Emilio Gordoa, drums / Roberto Caytan, flute, saxos / Carlos Velasco, guitar / Pablo Anguiano, percussion / Josep-Maria Balanyà, electric piano

    Track A2”: “Noviembre”

 

In The Air In The Ear

Josep Maria Balanyà, piano
Claudio Pontiggia, French horn

  • Claudio Pontiggia / Josep-Maria Balanyà

    Duration: 50:05

    CD Turicaphon, Bern, Switzerland LP TTS 31187

    Recorded on 1986 at Radio Televisione Svizzera Italiana, Switzerland

    Duo: Josep Maria Balanyà, piano; Claudio Pontiggia, French horn

    1 Mercoledí 8:57

    2 There's No Time For Nostalgia 10:39

    3 Beatrice 6:13

    4 Moleson 6:48

    5 Salâo d'orquestra Samuel Magalhaes da Motta 6:55

    6 El Petit Cuic 6:11

    7 Hyppoglosus Hyppoglosus 4:27

 

Pimenta!

Pimenta Group
Brasilian Jazz Quintet

  • Pimenta Group

    Brasilian Jazz Quintet

    Recorded in Bern, Switzerland, 1984

    Crazylane, private edition

    Samuel Magalhaes da Motta, flute, voice

    Josep-Maria Balanyà, piano Fender Rhodes, Yamaha

    Raimund Gestner, bass

    Willy Kotoun, percussion

    Norbert Pfammatter, drums

 

El Dolç Oblit

Carretera & Manta en directe

Josep-Maria Balanyà, piano Fender Rhodes
José Miguel Oca, baix elèctric
Josep Gabizón, saxos
Joan Trillo, bateria i percussions
Francesc Martí, guitarra elèctrica

  • Magic / Barcelona /1976
    2014 El Dolç Oblit

    -Sant Mogolló de Llança / F. Martí
    -Joan Parera / F. Martí
    -Citat / J.M.Balanyà
    -Ensamble o soldadura? / F. Martí
    -Ex Jota per a tu / F. Martí

    Tots els arranjaments:
    J. M. Balanyà / J. M. Oca / J. Gabizón / F. Martí / J. Trillo

    Gravat en directe al Màgic i masteritzat a l’estudi d’en Xavier Estrada / BCN-1976

    Remasteritzat digital a Vapor Studio / Sabadell-2014
    Tècnics de so: Josep Turdy i Valentí Adell