Dear Search Committee,
In this page you can find the three pieces that I chose to represent my work: my dissertation entitled On Love, String Quartet performed by Pacifica Quartet, and Tres Decals, an octet performed by the ensemble at the Wellesley Composers Conference. I put together this page to provide you with a little information about each piece in the form of program notes and to spare you the inconvenience of having to download the video of my dissertation, which is quite heavy. Every entry includes video or audio, the program note, and a link to the score. At at the very bottom of the page you will find a button which you can use to download all three PDF's to your CPU's, if you so desire.
Thank you very much for your consideration and I look forward to hearing from you,
Dur: 16' 35'' (0''- Prelude. 6'16''-"I Will Confess To You". 10'27''-"Thou Love Me?")
(fl,cl, soprano, perc, hp, pno, 2 actors, 2 vlns, vla, vlc)
Dur. 8'. (fl, perc, 2 pnos, 2 vlns, vla, cello)
On Love (2016) is a peculiar take on the radio soap-opera genre. It is in three movements and features two distinct superimposed layers. The "music" layer, performed by the instruments and the soprano, constitutes an idiosyncratic re-imagination of William Byrd’s masses. The second layer (that remains "tacet" until the beginning of the second movement) is performed by the actors and could be described as "speech-music". The material employed to compose this second layer is every sentence in Shakespeare's Romeo and Juliet that features the word “love” plus fragments of two soliloquies: Juliet's in the balcony (act 2, scene 2) and Romeo's at the grave (act 5, scene 3).
(Click here for more information and a list of performing personnel)
String Quartet (2012) derives from Robert Schumann’s Der Dichter spricht. Despite its brevity, the closing number of the Kinderszenen displays in quite sophisticated fashion many of my core compositional concerns: continuity of form, processual treatment of harmonic color, and careful unraveling of thematic information. In String Quartet, the original work by Schumann progressively emerges out of music composed by me, to appear stated almost in full towards the end. String Quartet is dedicated to Gerardo Gandini, my first mentor in Buenos Aires. Schumann's music was a recurrent "found object" in his composing.
Tres Decals (2014) consists of an ascending melody over which layers of ornamentation take place. Both the melody and the ornamentation respond to a series of permutational strategies that remain mostly untransformed over the span of the work. Despite the fact that the piece came to be as the layering of rather detached technical moves, my associations as I write this program note point towards the autobiographical: as I finished the piece, I was two weeks away from becoming a father for the first time, my former office literally turned into a nursery decorated with…decals. As a consequence, I tend to map many features of Tres Decals with tropes of infancy: the plain melody with the lullaby, the superimposition of pulses with the music-box, and the pervasive bits of major scales with the pitch material of, for instance, crib mobiles. In other words, Tres Decals is built with what, I imagine, are the sonic "day’s residues” in the dream of an infant.