Composition portfolio

Jardín de lágrimas (2014)

for solo violin

Jardín de lágrimas [Garden of tears] is the third of a cycle of solo string works comprising Lágrimas, for cello and Una furtiva lágrima, for viola.

It is conceived as a highly virtuosic étude in which several layers of melodic material are developed by means of an extensive use of hidden polyphony. Both the rhythmic structure and the global form are based on a fixed numeric sequence, which eventually proliferates affecting many other levels of the construction. Besides that, the overall expressive curve is treated in an almost romantic sense, and there exists in the piece a sense of narration that the listener is invited to discover.

The title refers to the constructive aspect as well as to the emotional contents of the work: development, blossoming and proliferation on the one hand; anguish, melancholy on the other.


Copla (2015)

for voice and piano

The word copla in Spanish refers mainly to a type of versification that is frequently found in Spanish and Latin American popular songs. Coming from the Latin copula, it might also mean couple: a set of two persons or things that are linked together or that have some resemblance.

In this piece, voice and piano are not treated as melody and accompaniment but rather merge in one single polyphonic web. In writing this work I tried to achieve a balance between a complex rhythmic and polyphonic structure, and an expression closer to the mood of early vernacular songs.

The lyrics combine fragments of two different poems from Trilce, by the Peruvian poet César Vallejo.


...y así será (Vidala de aire) (2016)

for string quartet

The point of departure of this piece is an anonymous folk melody included in the book El Folklore Musical Argentino by the musicologist Isabel Aretz. The piece also draws upon a summa of materials that come from a previous cycle of solo string works, comprising: Una furtiva lágrima, for viola; Lágrimas, for cello; and Jardín de lágrimas, for violin.

In the beginning of the piece, diverse fragments of musical material (each one associated to a different character and tempo) are scattered upon a non-measured temporal field. As the piece progresses, each material is developed individually through a somewhat episodic approach to the form, until reaching a point where everything that was previously heard is intermingled in a chaotic manner – as fragments of memories in dreams.


Hoquetus (2017)

for solo electric guitar

The main idea of this piece is to develop a single, ever-varying melodic line by means of a constant alternation between the notes of two independent layers. The first of these layers constitutes a loop whose tonal content is continuously re-interpreted by the material of the second one. The rhythmic and harmonic structures influence each other by means of a process of expansion and contraction. The basic harmonic material is a reworking of elements coming from Cantagrimura (2011), for four female voices.

Hoquetus was premiered at an outdoors summer festival in the Faroe Islands in 2017, and has been performed by the composer himself ever since.