These three pieces are particularly important in the work of Guinjoan and, in fact -- in this arranged form -- the most significant ones. However, they also present a peculiarity in their conception and realisation as, aside from the normal question, they shape a universe of sound based on the intimate characteristics of the soloist instruments -- remember the idea of the 'instrumental humanisation' -- which determines not just the starting point, but also, in a very special way, the atmosphere in which the work is defined, with a very visible identity in the treatment of the raw orchestral music, despite the fact that it is almost the same in the three concertos. In these pieces, there is the shaping of a style: a big word in the career of a composer.
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