Distancia de rescate (2024)

version for string orchestra. Commissioned by Festival Internacional PUCV Darwin Vargas, Valparaíso (2024). More…

• Works

Música invisible for Trombone (2022)

for solo trombone. Dedicated to Dalton Harris. Coommissioned by Neustart Kultur DE. More… 

• Works

Del cielo a casa (2024)

for chest organ and props. Commissioned by Orgelpark. Email me for score.

• Works

The World According to Harmon (2023)

for clarinet in Bb and ensemble. Commissioned by FPK Netherlands and Ensemble Modelo62. Email me for score.

• Works

Boxes (2022)

for electric guitar and ensemble. Commissioned by FPK Netherlands and Ensemble Modelo62. Email me for score.

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Genesis of an opera – Questionaire about our personal perspective on Camus´L’étranger

Is there an artistic team, apart from yourself, who will write the libretto and / or the adaption of Camus’ novel? Yes. I work in collaboration with: 1) Annette Müller: dramaturge and theater director. She works in different theater productions in Germany. 2) Bart Brouns: He is an expert in the German language with knowledge […]

• Camus

4. The text

We don’t want to produce a new text based on Camus’ novel but to make selection of the existent text, sung in French with eventual subtitles in German translating but also commenting the actions in a sort of meta-text.  The text in this opera works in different levels. Informative clear text: Text that helps to […]

• Camus

3. The music

Musical structure concerning L’étranger, the opera, is shown organized in several scenes which follow the structure of the novel. The soloist, Meursault -preferably a low voice- is in counterpoint with the ensemble. We want a clear straight forward plot, easy to follow in narrative terms, so the audience can concentrate in the subtleties of music […]

• Camus

2. Philosophy made music

L’étranger, evidences the strangeness of Meursault within their social environment as a metaphor of the man in relationship with society. In a dialectical relationship with the world around, the opera faces a soloist against the ambiguous world around. In our work the outside world is represented by singers, instruments and objects. As in the novel, […]

• Camus

1. Introduction

A careful reading of L’étranger shows that Camus experimented with certain structures and patterns that can be affiliated with music. L’étranger can be read as a musical score: concerning the form, the novel infers a musical logic in terms of structure and motivic development. It also contains innumerable sound-effect descriptions, which, apart from their direct […]

• Camus

Musique concrète (2015)

Musique concrète makes music with second-hand objects, mostly bought in the markets or rescued from the trash. Two performers manipulate sound objects and slide-projectors in different spots of a dark room, producing performative installations in dialogue with the architecture of the space. Music, sound, and space design are organized in a score creating complete audiovisual scenes with simple means.

• Program notes

Tissue (2019)

The human skin has its sonic representation on the whole orchestra like a flexible and elastic body, represented by big percussion instruments: timpani, thunder sheet, bass drum, lion’s roar, and tam-tam Big surfaces of skin, wood, metal, string and paper are hit, rubbed, stroked, scratched, and touched with the fingers by the percussionists, echoed by the rest of the orchestra. It is a “concerto” for big surfaces, where the soloists are not only the percussionists but “the matter itself.” The orchestra doesn’t play “around” or “with” the players but “inside”: in an implosive gesture, the percussionists “swallow” the orchestra which is playing from the heart of their matter. The orchestral tissue expands and contracts in various levels: density (from solos to full divisi), rhythm, and tone division (going from small microtones to wide intervals).

• Program notes

Mapa / map (2011)

DRINNEN VOR ORT
vier Landschaften – vier Jahreszeiten – vier Wege

Die Klangspuren in unseren Köpfen – auch 20 Jahre Festival Rümlingen haben ihnen einige hinzugefügt. Jetzt sollen sie aktiviert werden, unsere inneren Lieder, und zwar an den schönsten Orten der Rümlinger Umgebung, an Orten zudem, die vom «Mythos Rümlingen», von Momenten der Festivalgeschichte, durchweht sind.

• Program notes

Esta tarde leo a Adorno/This afternoon I read Adorno (2013)

At café “Lidos”, in Buenos Aires, the Argentine poet Barbara Belloc orally recalls her poem “Esta tarde leo a Adorno”. She remembers and forgets different parts of it, quoting it and reinvent it at the same time, and then she talks about Adorno, Brahms, vinyls and typewriting machines.
It is summer in Buenos Aires and the coffee is great.
Back in Holland, I start exploring Barbara’s palace of memories to write my own piece. Even in spring, the weather is really cold.

• Program notes

The Daughter of the Sorceress…

for 5 singers and chamber ensemble. Texts and visuals: Luciana Arditto. More…

• Works

El otro viaje (1992)

A group of Native Americans travel and discover the European continent some time before Columbus made his journey, which in 1992 has its 500 anniversary

• Program notes

Tiempo de alar (1993)

Allegory about repression and the triumph of freedom 

• Program notes

Drup (2018)

“In those days [legendary times of the Yellow Emperor] the world of mirrors and the world of men were not, as they are now, cut off from each other. They were, besides, quite different; neither beings nor colors nor shapes were the same. Both kingdoms, the specular and the human lived in harmony; you could come and go through mirrors. One night the mirror people invaded the earth.

• Program notes

Distancia de rescate (2018)

Distancia de rescate is based on the homonymous award-winning novel (“Fever dream” in the English translation) by the Argentine writer Samanta Schweblin. My piece is inspired on the psychological atmosphere of the novel and its fascinating polyphonic structure, which inspired me to write a piece for a big ensemble.
In the novel, the characters are attached to each other by a “psychological string” which expands and stretches depending on emotional content, mostly related to fear. In my composition, the cellos are physically attached to each other by strings, one resonating on another. Extra pieces of strings tied to the instruments bridges and tailpieces connect literally each other occupying the stage.

• Program notes

Distancia de rescate (2018)

for 8 low strings based on the homonymous novel by Samanta Schweblin. Commissioned by Innovations in Concert, Montreal. More..

• Works

Calder´s circus (2000)

Circo Calder is inspired on the Circus by Alexander Calder*, the American sculptor inventor of mobile and kinetic sculptures. Calder used to perform himself a vast, miniature circus conformed by a compendium of ingenious string mechanisms and wire artifacts. These artifacts are represented in my piece with different musical motives, which, like mobiles, spin around in loops. Each motive has it own weight, color, trajectory, and speed. The motives, when in interaction with each other, modify their rhythm, form, and behavior in analogy to Calder’s mobiles parts.
Calder used to build his kinetic sculptures with varied materials like stones, wire, wood, and pieces of metal. My spinning motives are made with different sound textures. Both circuses, Calder’s and mine, are a fragile compendium of small pieces to be performed live.

• Program notes

NRC 11 december 2006 Kagel en andere Argentijnen kunnen lachen met muziek Jochem Valkenburg NRC 11 december 2006 Concert: De metafysica van de humor – Muziek uit Argentinië. Werken van Kusnir, Rodrigues Kees, Arditto en Kagel. Gehoord: 10/12 Muziekgebouw aan ’t IJ, Amsterdam. ‘Een wolk van vrolijkheid’, zo omschreef de Argentijnse componist Eduardo Kusnir zijn […]

• Links internos

Anatomy of a jar (2020)

Anatomy of a jar explores the sound quality of discarded objects, making music with bottles and jars literally rescued from the glass container. These objects refer clearly to a known and familiar world, that through the composition process acquires an abstract and a poetic condition. This piece explores the subtleties of sound, both in the choir and in the objects. These sounds free themselves from their sources, having their own musical value independently of coming from the vocal tradition or the trash can.
Anatomy of a jar makes chamber music with objects converting them into refined musical instruments. Objects are now empowered on stage, and their sounds are written in a music score, acquiring thanks to the music notation “eternal life.” The act of re-appropriation is not related to the idea of nostalgia but to resistance and change.

• Program notes

Out loud #1, #2 and #3 (2013-

Out loud is a music piece in the shape of a strainer where most of the sounds have gone away. The main composing was intentionally erased and only the leftovers of a gone piece survive, the unwanted, the declassed sounds.

I say voiceless: I don’t want to write one more piece.

The music vanished and we are facing now its remains: breaths, movements, mistaken notes, eye contact. As if it were junk spread on the beach, this “new piece” invites to draw the shape of a missing party from the waste.

• Program notes

Life on Mars (2016)

Life on Mars is a trip between tonality and micro-tonality. When zooming in from a scale to a single tone and within that single tone to a micro-tone scale, our perception moves progressively deeper and deeper into the sound. Imagine that the perception of tones and micro-tones resembles observing Mars from Earth while getting increasingly closer to its surface; after a while, our eyes can’t embrace the whole planet anymore, only the small details.

The clarinet uses extremely micro-tonality: scales of 32nd of tone obtained by the usage of specific ventilation holes. The aim is not to turn the audience into listening machines but to create a context that opens the perception.

• Program notes

El libro de los gestos / The book of gestures  (2007 revised 2008)

There are four people in a room making music. Each one has a lamp. They play their musical instruments, and they also play the lights, on and off, creating with this action different atmospheres. The staging of the piece is constantly changing, in real-time, by means of the lights.
The book of gestures proposes a counterpoint of different layers: the rhythm of the music, the rhythm of the lights, the rhythm of the room…
There are spaces to be seen, spaces to be heard, spaces to be imagined. Some of the music is played in the dark, in a room full of presences.

• Program notes

Spiegeltjes (little mirrors) (2016)

This cycle of pieces (five in total) is inspired by the renaissance Flemish composers and their use of mirror techniques. All the recordings (tape) are made on vinyl.
The inclusion of real mirrors on stage creates not only visual duplications but a blind spot behind. The two performers have a different setup for each piece of the program playing with the mirror but also taking different locations on the space. Simple movements create very different scenarios and emphasize the acoustics of the hall in a “hide and seek” but “always listening” game.

• Program notes

The dearest dream (2018)

The dearest dream is an anti-concerto for simple means based on concepts by Karl Marx.
The music has 4 sections displaying different relationships between the soloist and the ensemble.
I. Dialectic of the strings, a string-telephone quartet is in dialogue with the ensemble strings.
2. The song of the land makes music with grains.
3. The man (repetition and alienation) where the percussionist sweeps the concert hall floor with a broom.
4. The machine is characterized by 4 electric fans with rotating heads.

• Program notes

Las trampas del tiempo / traps of time (2011)

I like to think about the mechanism of time as a switch with a bad contact that turns randomly the light on and off. We are in an intermittent room where the chairs, the stage, the instruments appear and disappear in flashes of sense; the full picture of the continuous space is only in our minds; the real space is in fact fragmented, full of emptiness. The present is even more ungraspable than the past.

Time is a bunch of threads all tied up together with our precarious mind mechanisms, wrapping the emptiness around with more hope than certainties. Most of the time, time is about jumps or just a continuous waiting we attempt to fill with notes. But when more notes, more emptiness.

• Program notes

I love you (2016)

I found a collection of slides in a flea market in Holland. The slides reflect a house being remodeled. No holidays, no people, no landscapes. Electric installations, wallpaper being ripped, traps and a gas meter.
In the ’60s, people were really careful about taking pictures, different from the click and through away of the digital pictures.
The story behind is unknown. Just I’ve got images of an empty house in remodeling.  The slides show a garden, a window, gas and electricity meters, a ladder, the bedroom.
In these scenarios, a man and a woman play music. They make music in counterpoint with the electricity sounds, they sing together with the gas pipes and play pianissimos in synchronization with the wallpaper that slowly, maybe for decades, is falling down.

• Program notes

Gestalt (2014)

Gestalt shows diverse forms of communication between two performers and how each way of relating generates different music structures (Gestalt). In between music, sound, and space design, Gestalt is music in the form of a treatise to be perceived in between categories.

The piece is based on 10 sections in the form of scenes. Each scene speaks about different ways of relationships between performers, their link with objects, musical instruments and the design of the stage, which is changing over time.

• Program notes

Viaje de las frecuencias en el agua / Travel of frequencies on the water (2018)

Viaje de las frecuencias en el agua (Travel of frequencies on the water) was inspired by von Karman vortex street’s theory, which studies repeated patterns in fluids, as swirling spirals in smoke rings or winds surrounding a tropical cyclone.
In my piece, the fluid medium is the water, played in a literal way by using a straw and a siphon; the bass clarinet is also prepared with water inside its bell, which causes fascinating acoustical phenomena. In analogy with von Karman’s theory, which amalgams the vulnerability of fluids with the power of the force that molds them, my music combines the fragility of sound with the solid rhythmical structure of the music.
Viaje de las frecuencias en el agua is dedicated to my father, eternal lover of the utopias of Jules Verne and to trioLF3, my musical submarine.

• Program notes

Palabras / Words (2005)

The piece is divided into five different blocks of spoken language that go from the proper spoken voice (Part IV) to a melodic line (part II) which is sung by the four instruments. Every block or surface has a different quality in relation to different kinds of discourse.
Julian Carrillo,s  1/16 tone piano was a primary inspiration for this piece and its relation to the spoken voice. The microtonal divisions of the piano are in the frequency range of the spoken language.

• Program notes

Gespleten piano (2010)

mini piano theater for piano, tapes, three lights and an optional mirror. Comissioned by Festival Música contemporánea Palma de Mallorca. More…

• Works

Casi cerca / Almost close (2003) – Analysis

This piece is based on the idea of suggestion rather than revelation. The music operates in the outer limits of perception; events are sensed rather than clearly perceived, contour prevails over detail, the respiration of music is whispered. The narrow dynamic range, the restricted instrumental timbre and the blurred effect of the rhythmical combinations aim at creating music that is slightly ‘out of focus’. Melodies are masked, melos being more important than the melody itself. “Casi cerca” (almost close) is related to something possible to perceive but impossible to touch. The word ‘casi’ (almost) is the thin dividing line that keeps these two dimensions of distance and closeness apart.

• Analysis

Libro de los gestos (2007) – Análisis (español)

La pieza esta construida en base a la idea de isorritmos. Estas estructuras rítmicas base se repiten constantemente en el discurso de la pieza, a nivel macro (forma de la pieza) y a nivel micro (fraseo).
Los isorritmos en si mismos no representan nada, ya que en la pieza aparecen con distintos “contenidos”: distinta instrumentación, tempos, armonías, alturas.
No es interesante el concepto del isorritmo en la pieza a nivel expresivo, ya que la misma estructura rítmica con un diferente contexto instrumental y musical significa algo totalmente distinto en cada nivel. Es un secreto del compositor que no es interesante difundir, pero si el análisis de estos isorritmos, pueden ser una herramienta para el estudio y el armado de la pieza.

• Analysis

Spiegeltjes (2013) #0

cycle for undefined solo instrumentation and self-recorded tape (or two equal instruments). Email me for score.

• Works

She is looking for her Turtle – part of The Daughter of the Sorceress… (2007)

for soprano, viola, trombone and sound objects. Part of the opera “The daughter of the sorceresses…”  can be played individually. Commissioned by KlangKleurFestival Amsterdam. More…

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Música para piano – part of The Daughter of the Sorceress… (2000)

  for solo piano. Part of the opera “The daughter of the sorceresses…”  can be played individually. More…

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Anatomy of a jar (2020)

for female or children choir (SMA) and glass containers. Commissioned by Zembla Music. More…

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Out loud #2 (2017)

for trombone, cello, violin, accordion and percussion. Commissioned by New Mexico Ensemble, US. More…

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Lijnen (2004)

In Lijnen sound and image are together sharing a common language in the same level of hierarchy. In collaboration with visual artist Ida Lohman, image and sound work in a one-to-one relationship. Lijnen uses a significantly reduced palette of materials: seven different images and four sounds for three instruments (viola, trombone and contrabass flute). The combination of few elements allows multiple possibilities. Simple and complex. In this piece, both music and image are played in real-time.

• Program notes

Dos #1 (2011) and Dos #2 (2015)

Working with recordings brings the possibility to recall different versions of the same piece. Old voices are in counterpoint with the live performance and the music splits into diverse historical lines. As a science fiction movie, the past converges with the present: in an ex-temporary gesture, Schumann is reflected on vinyl, the future for him.
In classical musical instruments, model, year, material, and builder have an enormous impact on the characteristics of their sound. The same happens with domestic appliances: every model, every speaker, every decade, brings its own particular sound.
These domestic appliances are generally built to be used at home and not in a stage. In this music -never better employed the term
chamber music- domestic appliances bring the atmosphere of a house to the stage.
Devices are in dialogue with live instruments or the human voice in a “concerto” form. A historical pre-recorded vinyl version of Schumann´s Carnival is manipulated live in a “live electronics” DJ style.
The name Dos (two) refers to the sad bipolar condition attributed to Schumann. Two pickup players, slightly out of synch, build a
psychological atmosphere full of distorted mirrors.

• Program notes

Dos #2 (2015)

for violin, cello and two pickup players (or tape). Coommissioned by DieOrdnungDerDinge, Berlin. More…

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Dos #1 (2012)

for voice and two pickup players (or tape). Commissioned by Stichting PlanB. More…

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Comic book (2011)

This project is a collection of small pieces, where the live process image from the projectors is in counterpoint with the clarinet and cassette players. It is a book with different episodes in between formats,  austere exercises on image and sound, made with analog means: slides, strings, and live music.

Comic book is inspired by the first animation film pioneers like Norman McLaren and his inspiring work on step motion techniques. McLaren was also a pioneer in image and sound research composing visual music and graphical sound. My Comic Book shows these “step motion techniques” in a live version: the black box is just in front of the audience´s eyes.

• Program notes

Comic book (2011)

for clarinet (or open instr.) and slide projector. Commissioned by Kulter, Amsterdam and Notations XXI. More…

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The air around (2012)

for 13 prepared electric fans. More…

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The air around (2012)

The fan is attached to the sounds as much of the sound is attached to the fan. We cannot conceive the machine without the sound, or the sound without the machine: one refers to the other. But when the fan is on stage making music, the sound appears to lose its inherent connection to its source and becomes an independent phenomenon: we start hearing the fan as a music instrument. After this switch in our mind, we can focus on the sound itself: its overtones, pitch, colored noise, residual tones, and all kinds of glorious “side- effects”. Curious enough, the production of fresh air, the main purpose in any electric fan, becomes something completely irrelevant. When the fan goes musical, the sound can be undoubtedly routed with its source without losing its identity: it looks like a fan, it sounds like a fan, it is a fan!. Even the modifications applied to the sound by the use of “extended techniques” enhancing and preserve the nature of the sound as two sides of the same process.

• Program notes

Anthropology of trash (2020)

Anthropology of trash, for amplified alto flute and objects as found in the recycling containers: textiles, glass, plastic, paper, and metal.

Anthropology of trash explores the sound quality of discarded objects, making music with bottles and jars literally rescued from the glass container. These objects refer clearly to a known and familiar world, that through the composition process acquires an abstract and a poetic condition. This piece explores the subtleties of sound, both in the choir and in the objects. These sounds free themselves from their sources, having their own musical value independently of coming from the vocal tradition or the trash can.

• Program notes

Maps of the Water (2007)

The whole piece represents a map drawn with sounds. It comprehends different sections: water, metal, wood and skin, modulating from one texture to another in analogy to a traveler exploring different geographies.
Four bags full of water are constantly dropping from the beginning until the end of the piece, adding a rhythmical “water-envelope” and a strong visual component.

• Program notes

Split piano (2011)

Split piano is an ongoing project that collects a series of short works where the piano is split off and perceived from a transversal perspective. The universe of the conventional piano is expanded by using objects, lights, gestures and recordings.

• Program notes

The magic (2005) – program notes

A duo for harp and percussion the instruments realm is extended to the world of objects. Metrical metronomes, dropping stones, paper sounds aim to create an aural situation where the theater is acted by the sound.  
Magic in the context of this work could be understood like alchemy. The two sorcerers work in counterpoint in their music spells. The sound is not transmuted into gold but into lights, gestures, and theatrical elements. It is not clear what is to be seen, to be heard or to be imagined in this piece.  The timpani suggests the big pan from the magicians; it is used mainly like a resonator capturing distant resonances.

• Program notes

The Cartography and the Magic (2005)

TThe piece is inspired on the dialectical relationship between chaos and order, being the mathematical structure the frame for aleatoric behaviors mainly from the percussion set: ping pong balls falling (the classical example from the chaos theory), water flowing, peas poured from one tin to another, spoken texts, etc. All framed in a strict counterpoint of drops, whispers and a balloon exploding.

• Program notes

Zand / Sand (2004)

The inspiration for this piece came from the observation of a picture of “von Karman Vortex Street” where, under certain circumstances, a complex spiral drawing turns into a fluid stream.
The idea of this twisted pattern changing in time, both in length and in its internal speed, could be translated into musical terms under different perspectives. From this physic phenomenon, I took the idea of this always-expanding movement in a three-dimensional space (the air) and the complex spiral pattern structure.

• Program notes

La arquitectura del aire / The architecture of air (2009)

At the beginning I thought that the piece was about “air” and the “space between things”, space conformed by the emptiness that is shaping the contour of things from the outside…
Perhaps because the two percussionists and the organ conform a triangle spread on the hall;  or because the organ has a motor and pipes and the vibraphone has a motor and pipes, but may be also because the musicians plays ventilators, a melodica and old radios and they “manipulate air” in different states and frequencies; or because the performers communicate with each other with strings tied to tins, in the manner of low-tech telephones -when I was a child I used to build this kind of telephones with my sisters…
easy reasons…
In the beginning, I thought that the piece was about air and the space between things, space conformed by the emptiness that is shaping the contour of things from the outside…
Perhaps because the two percussionists and the organ conform a triangle spread on the hall; or because the organ has a motor and pipes and the vibraphone has a motor and pipes; but also because the musicians play ventilators, a melodica and old radios and they manipulate air in different states and frequencies; or because the performers communicate with each other with strings tied to tins, in the manner of low-tech telephones -when I was a child I used to build this kind of telephones with my sisters…

• Program notes

La madre del río / the mother of the river (1997 – rev. 1999)

La madre del río is an anti-percussive piece mostly composed with long sustained sounds with a soft attack, played with the hands, fingers and nails. A set of wine glasses conforms a crystal orchestra tuned in quarter tones which plays together with a glissing vibraphone. Many other instruments in La madre del río are distorted by the literal use of water, which filters their sounds, producing quasi electronic sounds without electronics.

• Program notes

El libro de los gestos / The book of gestures  (2007 revised 2008) – Analysis

Four musicians in a room play music. Each one has a lamp. Besides the music, the performers “play” the lights on and off during the piece creating different scenes. The space of the stage is always changing because of the lights. This music suggests a counterpoint of different layers: the rhythm of the music, the rhythm of the lights, the rhythm of the room: spaces to be seen, spaces to be heard, spaces to be imagined. Some music is played in the light, but also there is other music coming from the dark in a room full of presences.

• Analysis

Cuarteto (1996)

Cuarteto is inspired on the Sederunt Principes by Perotin, a four-voice chant setting (organum quadruplum) composed in the XIII century. Sederunt Principes is presumably the first polyphonic composition for four voices, where colorful textures and ingenious motivic games come together at the end of every phrase. This phrasing in arcs was a conventional technique in the late medieval polyphony, rooted in the Gregorian chant, reminding the pillars of Gothic cathedrals.

• Program notes

Casi cerca / Almost close (2003)

Casi cerca / Almost close is based on the idea of suggestion rather than revelation. The music operates in the outer limits of perception; events are sensed rather than clearly perceived. Contour prevails over detail, the respiration of music is whispered.
The narrow dynamic range, the restricted instrumental timbre and the blurred effect of the rhythmical combinations aim at creating music that is slightly ‘out of focus.’

• Program notes

Canciones / Songs (1999)

Canciones is based on the idea of singing instead of song, melos instead of melody. Even though the act of singing is ceaseless, the songs themselves are never defined. Singers and wind instruments sing a song without song. Melodies are invisible threads which flow as the reminiscence of a song, the memory of something that never existed.

• Program notes

Mapa (2011)

conceptual score based on a landscape. Comisisoned by Rümlingen Festival, Switzerland. More…

• Works

El otro viaje (1988)

El otro viaje (1988) Step motion animation: Jorge LumbrerasMusic: Cecilia Arditto• Video• Program notes

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Tiempo de alar (1989)

Step motion animation: Jorge E. Lumbreras. Music: Cecilia Arditto. More…

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Straal/ray of light (2010)

Straal (2010) (one minute piece) for live piano and animationanimation: Juan de Graaf• Video• DVD “One more minute” by G. Livingston

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Lijnen / lines (2004)

for trombone, viola, contrabass flute  and 4 magic lanterns. Comissioned by Stichting Kous. More…

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Zand (2004)

for trombone, viola, contrabass flute and 1 magic lantern (visuals optional). Comissioned by Stichting Kous. Email me for score.

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The life of a bulb (2022)

for three trombones in Bb and optional lightbulb. Dedicated to Dalton Harris. Commissioned by Neustart Kultur DE. Email me for score.

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Palabras / Words (2005) – Analysis

Palabras (words) is a piece which work with words in two different ways: a) “Palabras” as sounds: the texture of the spoken language, the inflections of the human voice. Words as colors; b) “Palabras” as syntax: words combination create structures and musical grammar: linearity, polyphony, etc. Words as architecture. 
The piece is divided in five different blocks of spoken language that goes from the proper spoken voice (Part IV) until a melodic line (part II) which is sung by the four instruments. Every block, or surface has a different quality in relation to different kinds of discourse.

• Analysis

Musique Concrète: #5. La machine à écrire (2015)

Musique Concrète: La machine à écrire (2015) for xylophone or vibraphone or marimba and 2 slide-projectors; can be played by any musician who can read music, not necessary a percussion player.text available in French (original), English and Spanishvisuals (slide projectors) are optional; with visuals: 2 players/without visuals: 1 playerNO TAPE • Musique Concrète project page(videos, […]

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Musique Concréte: #4. Electricité(2015)

Musique Concréte: Electricité(2015) for string telephone, tape and 2 slide projectors visuals (slide projectors) are optional; with visuals: 2 players/without visuals: 1 player• Audio file to be played with live props • Musique Concrète project page(videos, tapes, PDF score)        

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Musique Concrète: #2. Ventilators (2015/2020)

Musique Concrète: Ventilators (2015/2020) for 2 ventilators, 2 stand-lights and tape 1) Ventilators #2a: Motors (2015) one of the ventilators can be replaced by any other instrument, improvising with the fan and the tape. • Audio file to be played with live props • Musique Concrète project page (videos, tapes, PDF scores) 2) Ventilators #2b: Sinewaves (2020) […]

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Musique Concrète: #1. Machine à coudre/sewing machine (2015)

Musique Concrète: #1. Machine à coudre (2015) for a sewing machine, scissors, nails, tape and crank-hand projector visuals (crank projector) are optional; with visuals: 2 players/without visuals: 1 player • Audio file to be played with live props • Musique Concrète project page (audio, videos, tapes, press)

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Musique Concréte: #3. La radio (2015)

Musique Concréte: La radio (2015) for live radio, tape and hand-crank projector visuals (crank projector) are optional; with visuals: 2 players/without visuals: 1 player • Audio file to be played with live props • Musique Concrète project page (videos, tapes, PDF score)

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Música invisible for cello: Inside (2008/2018)

for solo cello. Deedicated to John Addison. More…

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Música invisible for trumpet and Flügelhorn (2005)

for solo trumpet and/or Flügelhorn. Deedicated to Amy Horvey. More…

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Música invisible for oboe and English horn (2004)

for solo oboe and solo English horn. Coommissioned by Esther Kurstz and SUITE project. More…

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Música invisible for 2 halves clarinets (2004)

for 2 halves clarinets (one player). Dedicated to Isak Goldschneider. More…

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Música invisible for flute and dancer (2003)

for solo flute and dancer (can be played without the dancer). Dedicated to Wobbe van der Meulen and Ines Birkham. More…

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Música invisible for flute (2002)

for solo flute an optional props. More…

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Spiegeltjes: #5 Na / after (2013)

Spiegels: Na / After (2013) for undefined instrumentation and self-recorded tape or two equal instruments• Program notes  

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Spiegeltjes: #4. Tekening / drawing (2013)

Spiegels: Tekening / Drawing (2013) for live instrument and drawer (one or two players)Versions for: Flute (all), Clarinet in Bb, A or Bass clarinet; Tenor sax; Trumpet, Trombone or any brass instrument with Harmon mute. • Program notes “>

• Not listed

Spiegeltjes: #3. Terug / backwards (2013)

Spiegels: Terug / Backwards (2013) for undefined instrumentation and self-recorded tape or two equal instruments • Program notes  

• Links internos

Spiegeltjes: #1. Spiegeltjes / little mirrors (2013)

Spiegels: Spiegeltjes / Little Mirrors (2013) for undefined instrumentation and self-recorded tape or two equal instruments • Program notes

• Not listed

Spiegeltjes: #2. Snel / fast (2013)

Spiegels: Snel / Fast (2013) for undefined instrumentation and self-recorded tape or two equal instruments • Program notes

• Links internos

Cuarteto (1996)

for SATB. Winner Concurso Buenos Aires no duerme 1997. More…

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La madre del río (1997 rev.2000)

for four/five percussionists. Dedicated to Carmelo Saitta. 1st Prize Concurso de composición CEAMC 1997. More…

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Canciones (1998)

for soprano, baritone, flute, trombone y percussion. More…

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Calder’s circus (2000)

for violin, viola and violoncello. Concurso de Composición BAC-Arditti String Quartet 2000, Bs As. More…

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Introducción a la zoología fantástica (2000)

for children’s choir (SMA). Prize mention Concurso Radio Clásica 2000. Email me for score.

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Casi cerca (2003)

for soprano, violin, cello, trumpet, piano and percussion. Ensemble l’Aleph, France. More…  

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Palabras / Words(2005)

for soprano, viola, baritone saxophone and 1/16th tone piano. Comissioned by NFPK, Holland. More…

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Around music #1 (2006)

for alto flute, trumpet, cello, piano and percussion. Commissioned by Stichting Perpetuumm. More…

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Maps of the Water – part of The Daughter of the Sorceress… (2007)

for solo percussion. Deedicated to Arnold Marinissen.More…

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El libro de los gestos (2008)

for violin, cello, piano, percussion and lamps. Coommissioned by Ensemble Musas, Santa Fe. More…

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La arquitectura del aire (2009)

for organ and two percussionists. Comissioned by Orgelpark, Amsterdam. More…

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Split piano (2011)

6 short pieces for piano, cassette players and props + pedagogical activities. More…

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The Magic – part of The Daughter of the Sorceress… (2005 rev. 2010)  

for harp and percussion. Dedicated to Arnold Marinissen. Part of the opera “The daughter of the sorceresses…”  can be played individually. More…

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Las trampas del tiempo (2011)

#2 Duerme Rosa, for mezzo and ensemble. Based on texts by Sor Juana. Commissioned by Borealis Festival, Norway and Música Temprana, Amsterdam. More…

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