Category Archives: 6. Chamber music

Tango del desamparo (1987)

(The Neglect Tango)
For cello, piano and magnetic tape.

Death has always been one of the main themes in tango. “The Neglect Tango” is an autobiographical piece but it does not tell a story, it is rather about the emotion and pain caused  by the death of my brother.

In the scene, the instrumentalists sing, recite and algo play instruments of percussion. In the magnetic tape there are voices, bandoneon that turn into sirens and percussive tango phrases that sound like bangs.

Tango del desamparo

Continue reading Tango del desamparo (1987)

Ein Lied (2006)

Decreasing shapes (Formas decrecientes)
For soprano, alto saxophone, viola and piano.

About texts by Rodolfo Quique Fogwill.

Commissioned by Ars Nova ensemble for “Les grands jafoins”

This piece is born from the friendship that tied me up with Rodolfo Fogwill (Buenos Aires 1941-2010.)

Taking into account that his texts seem to almost always be full of music, of the language of music, the one I chose for Ein Lied is in a way about paternity as a form of eternity.

Continue reading Ein Lied (2006)

Tres Cantos a Pandora (2007)

For Mezzo-soprano, Mandocello, Guitar and Harp.

On texts by Tono Martinez and technical notes of Abel Robino

Commissioned by Artis Diffusion and TrioPolycordes.

These “Tres Cantos” [“Three Songs”] are part of a project that is constituted by twelve fragments, written by four composers; that is were my arbitrary numeration comes from (III – V and IX). I included the number V from a non-exhaustive list of concentration camps, transit, illegal detention sites, gulags…

Continue reading Tres Cantos a Pandora (2007)

Le Marais – The Marsh (I*–II*–III–IV*– V*) (Les princesses) (2008)

For violin, viola, saxophone, French horn, trombone, percussion and fixed sounds.

Initially conceived for choreographies by Odile Duboc, Véronique Ros de la Grange, Jean Gaudin, Pascale Houbin y Carlotta Ikéda.

Photo: Arthur Péquin

The Marais (marsh) together with the Forêt (the woods) were the two staging for the performance in which the different choreographic propositions were linked together. These five movements, each one 9 minutes long, are composed in a way that certain fixed musical components are brought to the forefront in collaboration with the choreographers (each one dancing their own solo.)

Continue reading Le Marais – The Marsh (I*–II*–III–IV*– V*) (Les princesses) (2008)