Sub-Üb-no-üb, on the "arme Sonne” (2022)
for Trumpet and Percussion
Commissioned by Marco Blaauw
de alambre triste (2021)
for flute, accordion and tape
Commissioned by Joaquín Muñoz & Gerardo Bluhm
Üb, Collections (2021)
for Clarinet, Horn, Trumpet, Percussion, Piano, Violoncello, and mini speakers
Y las aves… (2021)
for Chamber Orchestra
Commissioned by Rodolfo Fischer for the “Orquesta de Cámara de Valdivia”
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.
by LAR∀S collective
audio-visual installation and performance – 45′
corteza crepitante, ruge (2020 - 2021)
for amplified Bass Flute, Bass Clarinet, Violin, and Contrabass
collaboration between ACANTUN and Ensemble El Perro Andaluz for the concert program “Tempel im Gehör.”
for Percussion Quartet
Commissioned by Grupo Percusión Valparaíso
Listen to the CD: https://sellomodular.bandcamp.com/album/convergencia
Hendiduras Friccionantes (2020)
Commissioned by Ensemble Intercolor
La triste ii (2020)
for wind quintet
Arrangement of La Triste, for Oboe Duo.
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.
Reflexively Stagnant Throb (2019)
Written for 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.