for Performer and Kitchen Pot
Crossing (2020) for solo Oboe
Commissioned by José Luis Urquieta
Based on the mandala of compassion. It’s structure is built upon de four main circles of the mandala, tracing a sounding path to the encounter of the Buda of Compassion, at the center of the Mandala.
1. Purifying Fire
2. Vaija Circle
3. The 8 States of Consciousness
4. Arriving the center; dissolution of the Mandala
The piece uses a Piccolo Timpani and a Tam-Tam as modulators and resonators of the sound of the Oboe. It is set-up on stage in a way that the performer draws circular movements through the interaction with these instruments and the space.
Toque (2019) for Hammer and Body
Collaboration with Beatriz Silva
The piece is based on the exploration of the sounds produced by an object (a hammer) in strict connection with a body and its individual sounds. These two elements interact simultaneously with an acoustic floor: a common foundation that binds them together as the main sound source or medium. Through this relationship the body tries to reproduce the sounds of the hammer and vice versa, not only through the interaction with the floor but also resorting to the imagination and memory of the observer/ listener.
Viewers are guided through different phases to focus their perception not only on the object and body movements, but on the acoustic result of the whole. We try to present the body as a musical or acoustic instrument in order to understand and observe the music and the moving body as things that are not exclusive to each other, but a whole.
[ -. .- -.. .- ] (2019) for solo Clarinet in Bb
In general terms, the piece was built on two layers of material. The first is morse code, which determines the rhythm of most of the cells in the composition. The second is the conception of inner-entropy within a single tone. The inability of a tone to remain stable.
Red-blinded-like (2018) for Singer/Performer (and optional tape)
Written for MehrLicht!Festival premiered in Udk Berlin
The composition is based on the word "wait", coming from the APS (Accessible Pedestrian Signal) voice found in the US pedestrian lights, which gives "walk" and "don’t walk" signals. When pressing the APS button, a recording comes out saying “wait” every few seconds, until the "walk" signal is given. This little piece takes the topic mehr licht from a negative point of view. APS signals are designed for blind or sight-disabled people, who have to "listen" to the lights, in a figurative way, instead of looking at them, fact that many times produces confusion when many of these recordings are found together in a big crossing, overlapping each other. As much as many sight-disabled people are used to this kind of systems, there's also a big number of them that have difficulties adapting, especially when their condition was acquired at a later age.
The work re-constructs the word wait over time. A simple deconstruction of the word was made, in order to be able to re-build it later. Simple, because of being a short word of one syllable.
The base of the composition are the phonetics of each letter: /w/; /ə/; /i:/; /t/
Then the middle hiatus was added: /eɪ/
The word wait is constantly being reproduced throughout the composition in morse code.
Vaho Albo del Este (2018) for acoustic Guitar
Commissioned by Carlos Cid Retamal
Personal homage to the Andes, an extremely large mountain range that incarnates many of my thoughts and feeling towards the word home. The composition includes small quotes from folkloric and non-folkloric compositions, as well as elements that I associate with my own concept of home and the Andes themselves.
Para (2018) for solo accordion
Canto Efímero (2013)
Piano study based on Messiaen’s birds
corteza crepitante, ruge (2021)
collaboration project between ACANTUN and El Perro Andaluz
for percussion Quartet
Commissioned by Cuarteto Percusión Valparaíso
abulia incuriae (2020)
for amplified Flute, Violoncello and Piano
Commissioned by Fundación Teatro del Lago
for Brass Ensemble
Collaboration project between ACANTUN and the Sächsisches Blechbläser Consort
Hendiduras Friccionantes (2020)
Commissioned by Ensemble Intercolor
Hendiduras Friccionantes, in english meaning: Frictional or Scratching Crevices, is inspired by a recurrent phenomenon found in forests, called "Crown Shyness".
This is observed in some tree species, in which the crowns of fully stocked trees do not touch each other, forming channel-like gaps. The phenomenon is most prevalent among trees of the same species, but also occurs between trees of different species. Underground communication plays a big role in this phenomenon, which is also of big importance in the creation of the piece.
The composition mainly plays with the abstract interaction between the trees, which happens at an underground level. How communication between the trees unfolds is a complex, abstruse system. The tittle of the piece is therefore, some kind of irony. We witness concrete gaps that are a consequence of some kind of unseen and unexplained connection.
There are two main gestures that originate in specific instruments or duos, and that are then taken by a new instrument. While this "taking over" happens, the material changes, adapting to the new instrument and its possibilities.
La triste ii (2020) for wind quintet
Arrangement of La Triste, for Oboe Duo.
Reflexively Stagnant Throb (2019) for ensemble
Written for IMPULS Festival für Neue Musik Sachsen-Anhalt
Premiered by Ensemble Linea, Ensemble Tempus Konnex, Wieland Wagner and David Costello.
Reflexively /rɪˈflek.sɪv.li/, as a reflex, without conscious thought; automatically.
Stagnant /ˈstæɡ.nənt/, showing no activity; dull and sluggish.
Throb /θrɒb/, pulsation or vibration.
Inspired on the Bauhaus film “Reflektorische Farblichtspiele” parts 1-3 by Kurt Schwerdtfeger.
La triste (2019) for Oboe duo
Commissioned by Duo Sereno.
La Triste is based on the aria “when I’m laid in earth” —also known as Dido’s lament— from Henry Purcell’s opera “Dido and Eneas”. The material pretends to represent the sorrowful and falling gesture of a lament while exploring the oral possibilities of the instruments. The gestures are to be performed as very vocal and dragged expressions, imitating the singing voice as organically as possible. The spatial work of the piece explores simple echoing possibilities between the instruments.
for Flute, Clarinet in Bb, Percussion, Piano, Violin and Violoncello
Marchan Cordilleras en mi Patio (2017)
for SATB Choir
Anais, nos (2017) for Piano and Singer
Written for Transformation Festival Copenhagen 2017
Ella, chaconne (2016)
for Clarinet in Bb and String trio
“Malhaya el amor” (2015) from Isabel Parra
Arrangement for Flute, Percussion, Harp, Mezzosopran, Violin and Violoncello
Bajo la alborada, una voz... (2015)
for Flute sextet/ Flute orchestra
for String quartet
based on “On the Heights of Despair” from Emil Cioran.
for Flute, Oboe, Clarinet in Bb, Horn in F, Bassoon, Trompet in C, Tenor Trombone, Vibraphone, Soprano, Contraalto and Contrabass
for String quartet
3 Micropiezas (2012)
for Flute, Clarinet in Bb and Bassoon
Cuarteto para dos pianos y percusión (2013)
Flutter (2019) for Orchestra
Recuerdo de ahora (2016-2017) for Orchestra
Based on the poem “Mujer Fueguina, Recuerdo de Ahora” by Rolando Cárdenas.
In the poem, the elements of the local woman and the landscape of Tierra del Fuego are portrayed. The last verse of the poem was divided into five parts, and the second verse of the first verse was also taken to use as the title for each sentence.
The intention was to create short impressions and images as a series of memories to represent the cold, stony and grey elements of the region and the austere aboriginal woman who is said to have disappeared, who is nonetheless, still very present. Not only is she a remnant of chilean history, but she still lives in the Selknam descendants who are, to this day, still not recognized by the chilean government.
Sentí pasar... restos de cielo, nube en cuna (2016)
for String orchestra and Timpani
“To accept the ghost of eternity
contained in the drunken, deluging instant
that made my body tremble with rapture, beauty, and fear”.
The piece is designed to be performed in the written chronological way of the score, as well as an assembly model that can be put together in different ways, changing its narrative and structure. The available recording is the normal, chronological sequence.
lum.nox (2019) Sound and Light Installation
The installation is found in a dark corridor and uses the steps of the people who walk over a cardboard plate to activate sounds and lights that give a perspective of space and depth. The signal of the steps is taken by contact microphones places on the mentioned plate. The dynamic of the steps will determine the dimming of the lights and the length of the sounds. The sound design consist of electric and granulated sounds that complement the underground atmosphere of the cold corridor. The project is an invitation to live the space in a changing and interactive way. A game between the will of the individual and the response of the visual-sounding medium that alters the perception of the corridor.