reflejo cristalino, onírico, pétreo (2024 – in progress)

Program Notes: The power of the spoken word has always borne a powerful effect on me, especially when tied to poetry, fiction, or any form of narrative writing. The seemingly unconnected nature of words mingling with instrumental sounds lend themselves to an air of pretentious flourishes of superficiality, whose echoes of veracity and untruth reverberate in equal measure. Our realities and perceptions shaped by the expectations of what may be expressed, a palimpsest of all our cumulative experiences makes us question, anticipate, and judge the message or the art of the poet, their intention. Funnily enough in this absurd notion of how or what should the work of the composer be with the text, in all its tedium and criticism, they deftly try to fuse their and the poet’s figure in a bizarre pentimento to make every inquisitive notion both suggested and negated. To share their words and the poet’s music. Accepted and denied. North and south. Up and down.

I. y cuando sucedió no sentí nada for Bar-solo/sq (in-progress)

interlude 1 for violin & cello (in-progress)

II. Nada (text by Julia de Burgos) for Bar-solo/sq, premiered at Elebash Recital Hall at the Graduate Center CUNY, by Christopher Herbert, Josh Modney, Yezu Woo, Martine Thomas and Mariel Roberts. (Duration: 8 mins)

interlude 2 for string trio (in-progress)

III. El amor duerme en el pecho del poeta (text by Federico García Lorca, in-progress)

postlude for string quartet (in-progress)

Recording: