This is the audio of the first movement of my Symphony, Op.8. In it you can hear a slow introduction foreshadowing the themes of a fast sonata form, that represents a grotesque version of a tarantella. This track shows my darker, more sarcastic side.
The whole symphony’s structured according to the classical tradition, with the four canonical movements, but employing a contemporary musical language. It features very strong jazz influences, along with nods to the aesthetic of several early 20th century masters. While employing a prototypical ensemble (double woodwinds and the standard brass complement), the piece features a colorful and detailed orchestration.
A mini-symphonic poem from my larger work Fantasy Suite, Op.11. Laid out in an asymmetric ternary form, it opens with a dreamlike celesta solo (imitating a fairytale musical box), whose melody’s developed by the orchestra until it reaches a loud climax. Then the music becomes unexpectedly grotesque and the bass clarinet presents a new theme. After another climax, the music goes back to the opening material but in a new key. We are calm again but we can’t go back exactly to where we were before, we’ve just seen some weird stuff!
This track shows my mellower, more melodic side (even though I can’t help puting some grotesquerie here and there).
As with the Symphony Op.8, this piece uses a classical-era mould with three movements, but set to a modern musical aestehic, with very strong jazz influences.
This audio includes the first movement.
A festive setting of a medieval Mozarabic hymn, intended for intermediate choirs and piano. While the four voice parts are kept relatively simple to be approachable, the piece still has quite some complexity, with much 2-part counterpoint, a harmonically rich piano part, and a lot of syncopation.
This piece was awarded with a first prize in the 2nd Composition Contest of the Catalan Youth Choir Association in 2020.