Like Antoni Gaudi, the architect who knew how to insufflate life to modern buildings giving them their most ardent expression, Guinjoan brings vital aesthetic elements to a language that had been lost, taking a legacy that it has its roots in the XX century with names like Robert Gerhard or Jaume Pahissa. Guinjoan’s regulatory ideas do not impose forms beforehand: they sound the necessities of the musical material and from there they set out a new path towards a new classicism. Calderón doesn’t smooth things over these pieces of works, and he does it bestowing them with numerous creative nuances. Guinjoan develops formal procedures, which from an overview like these readings, show themselves as endowed of organic fluidity, however an analytic approach lets us see their great complexity. The pianist’s depth, imagination and musicality offers a reading of digital cleanliness and conceptual depth. We find, then, an anthological interpretation of the composer’s pieces for piano. Definitely, Calderon’s poetic piano reveals Guinjoan’s poetry with the piano in all its splendour and vitality; of whom has known how to raise living harmonies that will remain unharmed because of their strength and expressive significance.