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Critique of disks in the “Banda Sonora” section of magazine  “DIRIGIDO POR...”, No. 391. July - August 2009

by JOAN PADROL

Bacantes: descriptive and skeptical composition by Alejandro Román”

ALBERTO GONZÁLEZ LAPUENTE, ABC

Alejandro Román is one more name to be taken into account in the current spanish soundtrack”

JOAN PADROL, DIRIGIDO POR...

El Lenguaje Musivisual, a very interesting research work, with a clear intention teacher”

XOÁN LUACES, RITMOS DEL MUNDO

“The great music of Alejandro Román gives to the short film Niño Vudú an impeccably workmanship.”

JAVIER OCAÑA, CINEMANÍA

About “El Perfecto Desconocido”:

“We must praise [...] that the author has been very personal, no affinity to the fashions of rigor, creating a score sad, intimate, melancholy, emotional, full of unity and coherence. [...] The end result is a work hard, nothing comercial [...], a soundtrack restless and full of attractions.”

JOAN PADROL, DIRIGIDO POR...

Critique of disks in the “Banda Sonora” section of magazine  “DIRIGIDO POR...”, No. 424. July - August 2012

by JOAN PADROL

Critique of disks in the “BSO” section of magazine “IMÁGENES DE ACTUALIDAD”,

No. 326 July - August 2012

by RUIZ DE VILLALOBOS

About “El Perfecto Desconocido”:

“Second score for a feature film from composer Alejandro Román [...]. He has composed a score true to his music principles, where there is a succesful fusion of genres, from a gentle and intimate use of the piano, passing to themes of comedy of manners, to lead to solid dramatic compositions.”

RUIZ DE VILLALOBOS, IMÁGENES DE ACTUALIDAD

Alejandro Román, one of the values booming film music in Spain, with a spectacular musical training  [...], a composer with a bright future.”

RUIZ DE VILLALOBOS, IMÁGENES DE ACTUALIDAD

Review in the magazine “RITMOS DEL MUNDO”, No 9. March - April 2009

by XOÁN LUACES-FANDIÑO

About “El Cuerpo”:

“[...] we can not fail to note the wonderful orchestrations of Alejandro Román

IORDAN STOITCHKOV, SCOREMAGACINE

About the CD “La Perfecta Desconocida”:

“It is original because it is the first time in our country that you edit mockups, demos and blocks rejected by the director of the music composed for the film, wich helps the fans to asses what is the soundtrack of The Perfect Stranger and what are these demos and outtakes not used by the director, but written by the composer with the same creativity and the same forces that the music that finally accompanied the film images. [...] is therefore a real adventure that goes beyond the traditional and standarized score.”

RUIZ DE VILLALOBOS, IMÁGENES DE ACTUALIDAD

Critique of disks in the “BSO” section of magazine “IMÁGENES DE ACTUALIDAD”,

No. 334 April - May 2013

by RUIZ DE VILLALOBOS

"Alejandro Román brilliantly embeds the list of very famous composers (García Abril, de la Cruz, Marco, Montsalvatge, Turina, de Pablo, Balada ...) who have lent their sound universe to Jaén Piano Prize"

JAVIER EXTREMERA, RITMO

Report on the International Prize for piano "Jaén Prize" in the journal "RITMO", No. 875, June 2014

by JAVIER EXTREMERA

Photo: Miguel Ovelar

Alejandro Román highlights in the Spanish scene as one of the most interesting artists of his generation. [...] His chamber music and symphony, which has more of seventy compositions, is eclectic, original and very personal. Roman's work denotes a deep reflection about the musical trends of the twentieth century, their positioning between tradition and innovation, the relationship between avant-garde music and his own need to communicate through his captivating sound world, full of sensuality and elegance."

RUTH PRIETO, EL COMPOSITOR HABLA

"Alejandro Román is projected as one of the great figures of the national scene in the world of composition in Spain"

MARINA OLLER, VIVE POZUELO

Interview in magazine "VIVE POZUELO",             No. 133, February 2016

by MARINA OLLER

Interview on the International Prize for Piano "Premio Jaén" in the magazine "Rhythm",    

nº 874, May 2014

by GONZALO PÉREZ CHAMORRO

Portada y entrevista en la revista  “RITMO”,    nº 901, Noviembre de 2016

por ESTHER MARTÍN

“Multi-talented and enthusiastic, it is clear that the work is the tool to achieve their goals [...] prophet in his own land, recognition is an incentive rather than a goal in his career and an excellent opportunity to touch their works and their music is heard, both in a symphony hall and cinema.

Played by countless musicians, inside and outside

our borders, Alejandro Román writes in the score the many ideas that develops his mind in an active effort to interest and guide

the public of the XXI century.”

ESTHER MARTIN, RITMO

“27 pianists of all nationalities came together in

The Joaquin Rodrigo Las Rozas Auditorium to participate in the seventeenth edition of the Piano Composers Competition of Spain (CIPCE). The opening concert was performed by the young and well-known pianist Leonel Morales-Herrero and the brilliant Brazilian duo Witkowski. The first one was in charge of starting the evening with music of the honored composer, Alejandro Román, whose works resonated in the auditorium during the whole week. After a few introductory words, the notes of "Three Gymnopedias Satiéricas" created a magical atmosphere that the "Miniatures" colored with reminiscences and elegance, pure subtlety with which to give to the ear.”

ESTHER MARTÍN, RITMO

PRESS

© Alejandro Román, 2020
 

About “A Common. Enemy”:

Fusion. This is the key term, the most suitable to the purpose with which Alejandro Román has approached the expectations and uncertainties mirrored on the first Tunisian elections after the revolutionary events known as The Arab Spring, and that director Jaime Otero Romaní portrays in this emergency documentary produced in 2013, taking the format of a political thriller. For this occasion, he could count with another exceptional musician’s priceless contribution: Wafir Sheik Gibril, a percussions expert.

The Arabic scent Román’s work gives off is so unquestionable as is his mastery of keyboards and music programming, through which he very subtly introduces more western influences, with rhythms owing to rock, blues and jazz (as is the case, for example, in Tunis, Port de France, or in the percussive rhythm in Allah is Great). These rhythms are skillfully scattered throughout his work, with the purpose of providing drama and suspense to some of the documentary’s scenes and sequences. It is the case of The night of Persepolis, The voting moment, Results, all of them effectively providing emotional tension, but also of Alash, Alash, a song for a female singer, where Román dares to introduce Hammond’s organ samplers to get that more universal touch that music is able to achieve. The album includes in its first fifteen tracks the documentary’s score, redirected towards that atmospheric context the director intended. This was not a hindrance, however, to Román’s original intentions being forgotten when it came to release the same quantity of songs with alternative versions, demos and a series of bonus tracks that were not included in the documentary, through which it can be appreciated the Madrid-born composer’s purpose to mitigate that geographical factor in favor of a revolutionary process that, after all, interests and concerns the whole world. Bouazizi’s alternative version, the opening credits, is quite illustrative for that matter, offering an option much more tense than the original thanks to the electronics effects. Fragments from Revolution, Morou Meeting, Ghanuchi’s Return, Arab Spring, Revolution II and, above all, Tunisian Future, where converge Román’s keyboard intangible sound and the Arabic percussions and rhythm provided by the Hammond’s organ samplers, are the best example of the composer’s ambitions. Maybe this is the reason why this last track closes down an album that is actually two, and that, due to its dual nature, serves on a silver platter a reflection on Román’s musivisual approach, accomplished through the different nuances developed in some version or other. Enjoyment is guaranteed.


ROBERT BETTENS, FILM MUSIC SITE

Interview in the magazine “RITMO”, No 940

May - June 2020

by GONZALO PÉREZ CHAMORRO

"A soundtrack that exalts Estándar"


With some touches of black humor, Standard stands out above all for its soundtrack, which every time it is enjoyed on screen fireworks jump. The good treatment of the music composed by Alejandro Román elevates "Estándar" to another dimension. Combining works by Beethoven, Mozart and Tchaikovsky, in addition to bringing the thread of the narrative between comedy and thriller, there are also some touches of soul and rock in the purest style of the Spanish cinema of the 60s.


MARÍA INFANTE, CINEMAVAVIA.ES