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Composer, guitar and chamber music teacher. Head of the Strings Department of the Conservatoire (S.L. de El Escorial) of the Autonomous Community of Madrid, collaborator of the Department of Computer Music and Electroacoustics, and conductor.
He has published numerous books with Real Musical of Madrid and has prepared, as principal collaborator, the book Historia de una Guitarra (Community of Madrid) and the first gallery about the guitar history .
He has also won the Spanish National Ministry of Culture Award for his pedagogic books.
His large catalogue includes transcriptions and edited works for guitar as well as concert pieces such as Homenaje a Antonio Machado and El Bosque de Cristal (Carisch-Real Musical, Milano, Paris, Madrid). He has also published in Russia and France. In the latter country he collaborated in the publication of Premières années de guitare by François Castet (Éditions Combre, Paris).
His composition Alas de Seda was included in the CD Música Española para saxo y electroacústica. Other works, De Cero a Ochomil and La Tierra Que Heredamos, was recorded on CD produced by Radiotelevision of Spain... He also composes film and television music, most often for the Spanish Television (TVE).
At present he has a new catalogue of pieces with "Les Productions d'OZ", Canada, recorded by the French musicians Alexandre Bernoud and Florence Creugny (guitars), Pierre Perdigon (harpsichord), and Pascale Schelcher (flute). Also IBER for guitar and orchestra, performed for the first time by Lyon Simphonic Orchestra, the young guitarist Keren-Nada Bahr, and Jean-Pierre Prajoux conductor.
" Historia de una Guitarra".
First gallery about the guitar history
Madrid 1992.
C.D. Recordings
Graelsia Musicaphon (Alemania)
"Musica Española para Saxofon y Electroacustica" with the opus, "Alas de Seda" together with other Spanish composers, published by the Autonomous Community of Madrid
With "Alas de Seda"
"De Cero a Ochomil" R.T.V.E. Musica Recordings.
The recent complete recordings of his original pieces for guitar and accompanied by other instruments like the flute and clavichord. Arranging recordings by the artists Alexandre Bernoud, Florence Creugny , Pierre Perdigon and Pascale Schelcher.
Lune Pourpre and L'arbre tombé. ATMA 1000 Records. Québec-Canadá
Les Productions d'Oz CANADÁ
Mulhacén DZ 129
Lune Pourpre(two guitars) DZ 134
L'Arbre Tombée DZ133
La Danza de Selene( flute and guitar) DZ132
Paysage( guitar and clave) DZ137
Fantaisie( guitar and clave) DZ135
Albar, DZ151
Jazmin, DZ120
Títeres, Viento, Marcha y Olivos (cont. "Ma guitare part en voyage" of F. Castet) DZ119
IBER, guitar and orchestra DZ226
“The many faces of de guitar” DZ1042 CD by David Jacques.
Echo special edition : “20 compositeurs” DZ900 CD by David Jacques.
Deux airs espagnols (4 guitars) DZ989
Graelsia (harpe and guitar)
CARISH-R.MUSICAL- ITALY
Cuadernos didácticos Preparatorio
Cuadernos didácticos Vol. 1 Técnica elemental
Cuadernos didácticos Vol. 2 Escalas
Cuadernos didácticos Vol. 3 Repertorio iniciación
Homenaje a Antonio Machado
3 Piezas para niños
6 Estudios para guitarra
10 Miniaturas populares
6 Miniaturas populares
El Bosque de Cristal
With François Castet .
Revisions ITALY
Carish-Real Musical
Aguado,D. 28 lecciones para principiantes
Aguado, D. 24 lecciones para principiantes
Carulli, F. Tema y Variaciones Op. 27
Carcassi, M. 25 Estudios melódicos y progresivos Op.60
Giuliani, M. La Mariposa Op. 30
Narváez, L. Diferencias sobre guárdame las vacas
Sor, F. 10 estudios. Cuaderno 1
Sor, F. 25 Lecciones Op 60 (Introducción al estudio de la guitarra)
Carulli, F. 15 Estudios Fáciles
Bach, J.S. Preludio BWV 999 original para laúd
Review
CORTÉS, Juan Manuel, MICROPIÈCES
Here are five student pieces of around the grade 4-5 standard. Without exception they are all wellwritten and enjoyable compositions.
The opening Tho~me Vari6 has three variations and a finale and manages to make a quite decent composition out of a small amount of working material.
Pluie, even without the give-away title, would make the player think of rain falling. Echo could easily be used as a study in dynamics (as all the pieces in this book could). Danse is the most dramatic of the five pieces with an ostinato bass rumbling away under some macabre sounds above it. The set closes with a gentle Berceuse.
Within the confines of writing at this level, Cortes has produced a lovely set of teaching/student concert pieces of imagination.
(Steve Marsh, Classical Guitar, 12/2000)
CORTÉS, Juan Manuel, IBER
L'élément le plus frappant à première lecture réside dans la qualité de la partie de guitare. Les positions d'accords, d'arpèges, la dynamique des gammes, en particulier dans leur relation avec l'orchestre - utilisation de cordes à vide permettant un plus grand volume sonore - dévoilent une vraie connaissance de l'instrument, connaissance confirmée par le parcours du compositeur, guitariste, enseignant, chef d'orchestre, qui a su développer son écriture au travers d'un répertoire de musique de chambre original...
... l'uvre entière est une réussite.
(Tristan Manoukian ) Les cahiers de la guirare
Classical Guitar
CORTÉS, Juan Manuel, TRIPTICO for flute and guitar
Triptico was written in 1995 and is an attractive and atmospheric
composition. This is the third publication by this composer for flute and
guitar that I have reviewed and each time I have found his works to be
well-written, interesting and worthy of public exposure. One of his
trademarks seems to be the inclusion somewhere in the piece of a melodic
line over an arpeggio, which is either a moveable chord or just has the odd
note changed here and there. He uses this technique with skill and never
does it sound out of place or stereotyped.
Triptico has a 'free', unbarred mid-section titled Larnento flanked by a
Prologue and Danza, all three parts having attractive harmonies mingling
with the inventive melody lines. One of the really nice things about this
composition is that the composer has kept the whole work within the realms
of Grade 6.
(Steve Marsh, The Classical Guitar)
CORTÉS, Juan Manuel, L'Arbre tombé
Composed in 1991, this is an attractive and unusual work in four
closely-linked movements. The chordal figure introduced in the opening
Andante cantabile is quoted more or less verbatim in every movement except
the third, and the final movement proves to be little more than edited
highlights of everything that has gone before.
Stylistically, the language remains tonally-based, and the general mood is one
of quiet introspection. Only in the toccata-like third movement, in which both
parts are centred around quickfire triplet arpeggios, does the momentum start
to build. Cortés invariably makes intelligent use of the guitar's resources, and
the ensemble difficulties are limited to a brief but surprisingly accident-prone
three against two rhythm five bars from home.
A publication of considerable potential which remains comfortably within the
range of Grade 7/8 players.
(Paul Fowles)
CORTÉS, Juan Manuel, Nuages
This very atmospheric and delightful composition was written in 1993 and
lasts just over two minutes. It is basically an improvisatory-like melody
played by the flute over a repetitive, haunting arpeggio from the guitar. This
arpeggio is interrupted up by the occasional harmonic and tambour, plus a
very brief guitar solo.The music looks more difficult than it actually is, the
standard being around Grade 6. The suggested tempo is crotchet = 60, but if
that is slightly too fast for some non-professional duos, Nuages works very
well at a slower tempo. I really enjoyed playing through this piece and hope it
makes it to the concert platform. (Steve Marsh)
CORTÉS, Juan Manuel, La danza de Selene, for flute and guitar
La Danza de Selene is in two parts and starts with a 20 bar improvisatory
movement titled nvocacion. which features a plaintive flute melody played
over a 'tambour' guitar part. (The flute score includes several notes needing to
be played a quarter or three-quarters of a tone higher).
Although the second part. titled El Carro de Plata, is not marked to be
played much quicker, the stricter tempo and gradually accelerating guitar part
- beginning with quaver movement and then moving onto arpeggios flrst in
semiquavers and then in demisemiquavers - gives this movement a feeling of
forward motion and thrill. The whole composition has an Eastern flavour to it
and Cortes has cleverly evoked the excitement and mood of Selene
performing this sensuous dance in a short, but worthy composition.
Presentation is very good with a separate pull-out score for the flute and the
guitar part.
(Steve Marsh - Classical Guitar)
Soundboard Guitar Fundation of America
Castet, François "Ma guitare part en voyage"
Aimed at youthful beginners of all ages, this is a collection of short arrangements and compositions designed to stimulate the imagination as well as exercise the fingers. Included are folk and traditional songs from Mexico, Spain, France, El Salvador, Brazil, Peru, Cuba, Argentina, Venezuela and Turkey, all in straight-forward and simple arrangements. Interspersed with these are original compositions by Castet, Juan Manuel Cortés, Sylvain Lemay, Spencer Doidge and Fabienne Goy, also evocative of different parts of the globe.
The pieces are not strictly in progressive order, although those pieces that move up the fingerboard are grouped at the end of the book. The introduction invites the voyage to design his or her own tour.
With simple techniques, open textures and attractive melodies, this volume offers a fine assortment of didactic and recreational pieces for guitarists in the early stages.
(David Grimes, Soundboard)
LES CAHIERS DE LA GUITARE
Juan Manuel Cortés,L'arbre tombé pour deux guitares; Tríptico, pour flûte et guitare; Fantaisie, pour clavecin et guitare, chez d'Oz, (conducteur et parties)
Voilà des pièces qui sonnent. Le language est bien défini dans son originalité. Les harmonies complexes et sombres organisent une variété dosée d'atmosphères. Dans la pièce pour deux guitares, on commence par une sorte de choral qui s'épure dans un mouvement lent, pour laisser place à une toccata puis à un mouvement synthétique des éléments qui précèdent. Polarisé autour du sol, la dynamique s'opère par tension avec le sol dièse, ce qui n'est pas sans rappeler la manière du canadien Jacques Hétu. Dans les pièces avec flûte et clavecin, un certain minimalisme apparaît respectivement à la guitare et au clavier, ce qui permet dans la première de développer les mélismes de la flûte, dans la seconde de doser les prépondérances thématiques et de faire dialoguer les deux instruments en distribuant aussi bien à l'un qu'à l'autre les rôles de développement mélodique, d'ornementation et d'harmonisation. La formation guitare-clavecin a beaucoup d'avenir...
Danielle Ribouillaud
(Les cahiers de la guitare, France)
Pag. of music
Micropièces DZ 129 d'Oz
Mulhacén DZ 129 d'Oz
Tríptico DZ130 d'Oz
L'Arbre Tombée DZ133 d'Oz
Fantaisie DZ135 d'Oz
Fragmento de la Obra "El Bosque de Cristal"
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tel.: 34-91-890.36.11 fax: 34-91-890.59.94
