Commision: Orquesta Sinfónica Universidad de Concepción, as part of the 2026 Composer Residency
for Soprano and Viola da Gamba
Commission: Continuum XXI
Premiered by Sophie Negoïta and Marina Cabello
for Snare & Accessories, Cymbal, Voice, and Electronics.
Written for and premiered by Zoi Argyriou
for 2 Performers, 2 Glass Plates, Transducer Speakers, Microphones and Light.
Specially arranged for Ruido Blanco.
for Bass Clarinet, Trombone, E-Guitar, Percussion, 3 Robophones (Kinetic Sound Sculpture), Fixed and Live electronics.
Commission: Münchener Biennale für neues Musiktheater
Premiered by Ensemble Garage
for 3 Performers, 2 Glass Plates, 1 Plexiglass, Transducer Speakers, Microphones and Light.
for Trumpet and Percussion
Commission: Musikfabrik
Living Installative Piece for 3 Performers and prepared Grand Piano
Commissioned and premiered by Ensemble I Transiti
Spatial piece for Orchestra
Collaboration between ACANTUN Kollektiv and Sinfonietta Dresden
Project: LAYERS – Music meets the Art of Gerhard Richter
for Flute, Accordion Convertor and Electronics
Written for Joaquín Muñoz & Gerardo Bluhm for the Album “Acordeón y Flauta a la Chilena”
for Clarinet, Horn, Trumpet, Percussion, Piano, Violoncello, and 6 Mini Bluetooth Speakers
Premiered by Musikfabrik
for Performer, Kitchen Pot Installation, Video mapping and Electronics – 27’
#queseacabechile is a solo performance for performer, an installation of cooking pots, projections and electronic music. Through these various elements, the viewer enters a space that confronts him/her with a static body that varies between an offensive and defensive position.
The performance is based on the Chilean political context that emerged on October 18th, 2019, as a social outburst, which resulted in a series of human rights violations by the police and military.
#queseacabechile attempts to represent the notion of collectivity from a single individual, and from the multiplicity of the pots, which derive from an act of protest known in Chile as “Cacerolazo.” #queseacabechile is a hashtag used by people in Chile to condemn different aspects of the social, economic and political situation in Chile. This name was taken as a title, because of the importance that social networks took at that time for the dissemination of police violence.
for Flute, Clarinet, Marimba, Violin and Violoncello
Comissioned by Cecilia Castagneto
Project: “Frauen im Schatten”
by LAR∀S Collective
Audio-Visual Installation and Performance – 45′
for amplified Bass Flute, Bass Clarinet, Violin, and Contrabass
Collaboration between ACANTUN Kollektiv and Ensemble El Perro Andaluz
Project: “Tempel im Gehör.”
for Percussion Quartet
Written for Grupo Percusión Valparaíso, for the album “Convergencia”
for amplified Flute, Violoncello and Piano
Commission: Fundación Teatro del Lago, for the album “Creaciones bajo Contagio”
Commission: Ensemble Intercolor
Premiered at MUSICA Festival Strasbourg
for 2 Oboes
Written for Dúo Sereno
Commission: IMPULS Festival für Neue Musik Sachsen-Anhalt
Premiered by Ensemble Linea, Ensemble Tempus Konnex, Wieland Wagner and David Costello.
for solo Clarinet in Bb
for Singer/Performer (and optional tape)
Written for MehrLicht!Festival
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.
for Acoustic Guitar
Written for Carlos Cid Retamal
for String Orchestra and Timpani
Premiered by Orquesta Marga Marga
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