solo instrument
Fantasy and Nocturne
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Nocturne and Fantasy (2009)
Duration: circa 10 minutes
Premiered by Mark Robson at Piano Spheres 2008-09 concert season, Zipper Hall, Los Angeles, April 28th, 2009.
Program Notes:
Two movements contrasting in character: the Nocturne, a moment of reflexion, where gentle lines are combined in delicate and nostalgic gestures, and the Fantasia, fiery, extravagant, and relentless.
Both movements identify the idea of self-reference as the creative engine. Self-reference allows for objects that refer back to themselves, as in Magritte’s “‘This is not a pipe” or Velázquez' “Las Menina’s”. The process of ” looking back to itself” was infused, for example, in the Nocturne in fractal-like counterpoint where an object combines, simultaneously, multiple scaled-down versions of itself, as if a melodic and temporal “Russian doll”
Dedicated to Mark Robson.
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copyright@2009
Registered with BMI
Duration: circa 10 minutes
Premiered by Mark Robson at Piano Spheres 2008-09 concert season, Zipper Hall, Los Angeles, April 28th, 2009.
Program Notes:
Two movements contrasting in character: the Nocturne, a moment of reflexion, where gentle lines are combined in delicate and nostalgic gestures, and the Fantasia, fiery, extravagant, and relentless.
Both movements identify the idea of self-reference as the creative engine. Self-reference allows for objects that refer back to themselves, as in Magritte’s “‘This is not a pipe” or Velázquez' “Las Menina’s”. The process of ” looking back to itself” was infused, for example, in the Nocturne in fractal-like counterpoint where an object combines, simultaneously, multiple scaled-down versions of itself, as if a melodic and temporal “Russian doll”
Dedicated to Mark Robson.
----
copyright@2009
Registered with BMI
Three Movements for Solo Piano
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Three Movements for Solo Piano (2007)
Instrumentation: piano
Duration: circa 12 minutes
Copyrights: work registered with BMI
Premiered by Tzimon Barto on March 16th, 2008, Eustis Florida.
Awarded the II International Barto Prize (2008).
Excerpts: Mov. I, Mov. II, Mov. III
Program Notes:
In this work, the opening of the first movement starts with the illusion of a classical sounding gesture. Such illusion is soon dissolved, dropping the listener into an energetic world of colorful, crossed arches, where musical time is perceived at certain moments as compressing, and at others, as distending. In contrast with the horizontal kinetics that traverse the first part of this movement, the second part starts by focusing on restricted areas of the keyboard; the repetition of blocks is progressively extended to larger, and larger keyboard ranges, until the block-type of material gets suddenly pulverized into single, spaced-out notes in a descending gesture. As time progresses, the single-note gesture crystalizes back into the original arched gestures, as heard earlier in this movement.
The second movement, nostalgic in character portrays, as Fernando Pessoa (1888-1935) wrote, "A sad melody with no weeping (...)", "(...) a morning to sense the soul as a song (...)", an introspective remembrance of past cycles as new cycles in life begin, colored with the use off simple, "(...) old fashioned (...) " melodic, harmonic, and rhythmic elements. His poem is published under "Poesias Inéditas".
The third movement surges as an eruption, a definite break from the mood set by the previous movement, setting an uncompromising drive, full of resilience, and with an unstoppable inner force until the end of the work. The different sections are outlined by contrasting keyboard demands, and the transitions between sections happen progressively as slow cross-fades between distinct contrapuntal gestures/materials.
Instrumentation: piano
Duration: circa 12 minutes
Copyrights: work registered with BMI
Premiered by Tzimon Barto on March 16th, 2008, Eustis Florida.
Awarded the II International Barto Prize (2008).
Excerpts: Mov. I, Mov. II, Mov. III
Program Notes:
In this work, the opening of the first movement starts with the illusion of a classical sounding gesture. Such illusion is soon dissolved, dropping the listener into an energetic world of colorful, crossed arches, where musical time is perceived at certain moments as compressing, and at others, as distending. In contrast with the horizontal kinetics that traverse the first part of this movement, the second part starts by focusing on restricted areas of the keyboard; the repetition of blocks is progressively extended to larger, and larger keyboard ranges, until the block-type of material gets suddenly pulverized into single, spaced-out notes in a descending gesture. As time progresses, the single-note gesture crystalizes back into the original arched gestures, as heard earlier in this movement.
The second movement, nostalgic in character portrays, as Fernando Pessoa (1888-1935) wrote, "A sad melody with no weeping (...)", "(...) a morning to sense the soul as a song (...)", an introspective remembrance of past cycles as new cycles in life begin, colored with the use off simple, "(...) old fashioned (...) " melodic, harmonic, and rhythmic elements. His poem is published under "Poesias Inéditas".
The third movement surges as an eruption, a definite break from the mood set by the previous movement, setting an uncompromising drive, full of resilience, and with an unstoppable inner force until the end of the work. The different sections are outlined by contrasting keyboard demands, and the transitions between sections happen progressively as slow cross-fades between distinct contrapuntal gestures/materials.
Cellular Variations
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Cellular Variations (2005)
Instrumentation: piano or any other keyboard with suitable range.
Duration: circa 10 minutes
Copyrights: work registered with BMI
Premiered by Jennifer Logan in Los Angeles, August 2006.
Excerpt
Program notes:
A set of four variations on J. S. Bach’s Invention IV (in d minor).
Dedicated to Jennifer Logan.
Instrumentation: piano or any other keyboard with suitable range.
Duration: circa 10 minutes
Copyrights: work registered with BMI
Premiered by Jennifer Logan in Los Angeles, August 2006.
Excerpt
Program notes:
A set of four variations on J. S. Bach’s Invention IV (in d minor).
Dedicated to Jennifer Logan.
Solos
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Solos I-IV (2003-05)
Instrumentation: piano or any other keyboard with suitable range.
Duration: circa 10 minutes
Copyrights: work registered with BMI
Premiered by Jennifer Logan in Los Angeles, August 2006.
Excerpt
Instrumentation: piano or any other keyboard with suitable range.
Duration: circa 10 minutes
Copyrights: work registered with BMI
Premiered by Jennifer Logan in Los Angeles, August 2006.
Excerpt
Clarinet Etude
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Clarinet Etude [Estudo para Clarinete] (1996)
Instrumentation: clarinet (Bb)
Duration: circa 8 minutes
Copyrights: work registered with BMI
Premiered at Indiana University by Tascha Dzubay.
Excerpt from live recording.
Instrumentation: clarinet (Bb)
Duration: circa 8 minutes
Copyrights: work registered with BMI
Premiered at Indiana University by Tascha Dzubay.
Excerpt from live recording.