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Awards
- National Composition Award for brief symphonic works "Juán
Bautista Plaza", for
his piece Orquestada 5: a piacere ¡Por puro gusto,
mucho gusto! (Orchestrated 5: a
piacere for pure pleasure, a lot of pleasure!) 1984
- Federal District's Municipal Prize to the best Short-film Music and
Soundtrack, for
Primer Canto (First Chant), 1985
- Mention from the National Composition Award for big symphonic works
"José Angel
Lamas", for his piece La Gran Aldea (The great village)
for orchestra and cassette with electronic sound recordings) 1986
- Symphonic Bands National Composition Prize "Benigno Rodríguez
Bruzual", for
his work Vitrales (Vitraux) 1986
- Mention from the National Vocal Music Composition Award "José
Angel Monteros", for his composition for mixed choir a capella
Inconcebible (Inconceivable) 1987
- National Chamber Music Composition Prize "Caro de Boesi" for his
Música (Music) for Saxophones Quartet and Percussion Quartet,
1987
- Symphonic Bands National Composition Prize "Antonio Rafael
Narváez", for
his composition ¡Vaya! 1987
- Symphonic Bands National Composition Prize "Marco Antonio Rivera
Useche", for
Cuentas Claras (Short reckonings) 1988
- National Composition Prize for Children Orchestras for Ahí te
dejo eso (Take that!) 1988
- Consucre Arts Prize "Antonio Lauro" from the Sucre District's
Municipal Town Council
for his School Opera Project El Niño de la Mirada
Clara (The boy with the clear eyes-look) 1989
- Sole winner (as co-author) from the First Symphonic Composition Prize
"Seguros La
Previsora" insurance company, for his Concierto de las
Tres Esferas (The three spheres concert) for two synthesizers and
orchestra, 1989
- Federal District's Municipal Town Council Popular Music Prize for
Tres Mujeres (Three women), Venezuelan waltz for piano 4 hands,
1990
- Mention from the Federal District's Municipal Town Council Symphonic
Music Prize for his Canto de trabajo (Work song) concert for processed
and amplified double bass and orchestra, 1990
- Symphonic Bands International Composition Prize "Rafael
Rodríguez Albert", Spain, for his composition Mestizaje
(Crossbreeding) 1991
- Mention from the National Vocal Music Composition Award "José
Angel Monteros", for his composition for bass-baritone and piano 3
poemas de Enrique Molina (Three poems from Enrique Molina)
1993
- National Composition Award for brief symphonic works "Juán
Bautista Plaza", for
his piece Ambientes Vulnerables (Vulnerable atmospheres)
concert for violin and
orchestra, 1995
- First Mention from the Choral Composition Competition Banco de
Venezuela
Foundation, for El Andariego (The Wanderer) for tenor
soloist, mixed choir, violin and
English horn, 1996
- Mention of Honor from the Inter-American Symphonic Orchestra
Composition contest
'Centennial of the Costa Rica National Theater' por Ten
presente el presente
(Centenario) (Have the Present in mind - Centennial
-) for Symphonic Orchestra, 1997
- Winner of the Sole Scholarship for Latin American granted by the
Ministry of Education and Arts of Spain, for a residence at the LIEM
(Informatics and Electronic Music Laboratory) from the CDMC (Center for
the promotion of Contemporary Music)
'Museum Queen Sophia' (Madrid, Spain), for his work
Euforia y 6 Dúos para dos
generadores de dos generaciones (Euphoria and 6 Duets for
two generators of two
generations) 1999.
List of Works
For the scene:
- Irrelevancia (Immateriality) instrumental theater, piano, 1975
- Apéritif (Aperitif) instrumental theater, piano, 1977
- Flash for five (5) lighters and four (4) performers in two (2) bass
drums, 1977
- La montaña respira (The Mountain breathes) for newspaper,
painting, base note and
voluntary public, 1978
- Concierto de pequeñas acciones para agentes provocadores y
público con diversos
objetos (Concert for small actions) for provocative agents
and public with diverse
objects, 1978
- Ocurrencias (Occurrences) musical and poetry game, 1983
- Jugarretas (Dirty tricks) for choreography from Trina Frómeta
for piano, flute and
saxophone, 1989
- Esencia en escena (Essence in scene) for piano and ballerina, 1991
- El niño de la mirada clara (The boy of the clear eyes-look)
children's opera, 1989-1995
- Bucuburucubú y la sombra comesobras (Bucuburucubú and
the shades-eater shade)
Children's Opera, 1993
- En casa de Antonieta (At Antonieta's home) music for the soundtrack
of the CAS(A)NTO proposal from Antonieta Sosa at Hall II of Caracas
Museum of Fine Arts, 1999
For orchestra:
- Orquestada No.1 (Orchestrated No.1) for piano and orchestra, 1974
- Orquestada No.2: Constante cambio (Orchestrated No.2: Constant
change) for 16
instruments, 1980
- Orquestada No.3 (Orchestrated No.3) for piano and 18 instruments, 1983
- Orquestada No. 4 masivo y rítmico (Orchestrated No.4: massive
and rhythmic) for
strings orchestra and optional drums, 1983
- Orquestada No. 5: a piacere, por puro gusto; ¡mucho gusto!
(Orchestrated No.5: a
piacere; for pure pleasure. A lot of pleasure!) for
symphonic orchestra, 1984
- Orquestada No. 6: El fresco aroma de viejos placeres (Orchestrated
No.6: The fresh
aroma from old pleasures) for symphonic orchestra, 1984-85
- Orquestada No.7: La Gran Aldea (Orchestrated No.7: The great village)
for symphonic
orchestra and recorded electronic sounds, 1985
- Fanfarria tropical (Tropical fanfare) 1985
- ¡Ahí te dejo eso! (Take that!) suite, 1988
- Expectativa (Expectation) free work or 1st Movement from the "Concert
of the Three
Spheres" for two keyboard synthesizers (or two pianos or
piano and synthesizer),
programmed percussion and symphonic Orchestra, 1989
- Triángulo Mágico (Magic triangle) co-author,
Beatríz Bilbao, 3rd. Movement from the
"Concert of the Three Spheres" for two keyboard
synthesizers and symphonic Orchestra, 1989
- Canción de trabajo (Work song) Concert for processed and
amplified double bass and orchestra, 1990
- Ambientes vulnerables (Vulnerable atmospheres) for violin concert and
orchestra, 1993
For Band:
- Vitrales (Vitraux) 1986
- ¡Vaya! (Go!) 1987
- Cuentas claras (Short reckonings) 1988
- Metizaje (Crossbreeding) 1991
Concerts:
- Ambientes vulnerables (Vulnerable atmospheres) Concert for
violin and orchestra) 1993
- Ten presente el presente. Centenario: 1. Naciente / 2. Floreciente /
3. Persistente / 4.
Presente (Keep the present in mind. Centennial: 1. Nascent
/ 2. Flourishing / 3.
Persistent / 4. Present) 1997
- Mojiganga (Masquerade No.1) for symphonic Orchestra, 1998
- Sonrisa de mujer (Woman's smile) concert for harp and symphonic
orchestra, 1999
For Choir:
- El rezo (The prayer) for mixed choir a capella. Text by Alejandro
Teruel, 1974
- Opusnón for children's choir, 1976
- Liturgicante (Liturgical-itch) internal Memo version for institution
choir, 1981
- Inconcebible (Inconceivable) 1986
For Ballet:
- Cualquier semajanza es pura coinci-danza (Any likeness is pure
coinci-dance) for the
'Danzahoy' dance company, 1981
- Hojas de olvido (Oblivion leaves) audiocassette for choreography from
Adriana
Urdaneta, 1981
- Y eso es todo (And that is all) for 'Danzahoy', 1983
- Juguemos (Let us play) music for a choreography from Jean-Marc Colet
for piano,
electronic piano and English concertina, 1983
- Es inevitable (It's unavoidable) music for choreography from Jacques
Broquet,
'Danzahoy', 1983
- Que siga el Son (Let the Son go on) music for 'Danzahoy', 1983
- Glooskap and Lindú, 1984
- Buscando el encuentro, encuentro la búsqueda (Searching for
the encounter, I encounter the search) for piano, 1984
Chamber Music:
- Laberinto sin salida (No exit labyrinth) for piano, 1974
- Sonata para trio en un movimiento (Sonata for trio in one movement)
for violin, cello
and piano, 1974
- La maquinaria y el hombre (The machinery and man) for baritone and
piano, 1974
- Invención (Invention) for strings quartet, 1974
- El Zamural (Vultures' own) for flute, bassoon, violin, cymbal,
timpani, 1975
- Pieza No. 1 (Piece No.1) for guitar, 1975
- Nuestra cultura vegeta (Our Culture Vegetates) for recording tape,
1976
- Entre la libertad y el miedo (Between freedom and fear) for a
performer with toy globes and diverse objects, 1978
- Respira a ritmo natural (Breath in natural rhythm) for voluntary
public, 1978
- Pianodrama 1 for piano, 1980
- Constante cambio, orquestada 2 (Constant change, orchestrated 2) for
16 instruments, 1980
- Pieza para armar entre amigos (Piece to assemble among friends) for
small instrumental group, 1981
- Juego de manos es de villanos ("Hands play; villainous' game" - It
only ends in tears)
for piano 4 hands and two feet, 1981
- Música con objetos de vidrio (Music with glass objects) for
five (5) volunteers with
glasses, bottles, flasks and marbles, 1981
- Hojas del olvido (Oblivion leaves) for recorded electronic sounds,
1981
- Ritmo (Rhythm) text with bongo accompaniment, 1981
- De cuántas manos dispone el pianista - 1. Dédalos 2.
Para tu nota 3. Toca tu nota
(How many hands the pianist has: 1. 'Finger them' 2. for
your note 3. Play your note) for piano and voluntary public, 1981
- ¿Qué hace la gente para divertirse? (What do people do
to have a good time?) Tic-tac, tic-tac, words and vocal rhythm, 1982
- Vuelta a vuelta (Turn on turn) First version: flute, trumpet,
clarinet and English
concertina, Second version: flute, trumpet and clarinet,
Third version: English concertina, Fourth version: flute, trumpet,
clarinet and viola, 1982
- ¿Otra vez? (Once again?) for flute, trumpet, clarinet and
English concertina, 1982
- No es serial (It is not serial) for oboe, clarinet, drum, trumpet,
trombone, xylophone and cymbals, 1983
- Pieza No. 2 para cuarteto de cuerdas: un guiño (Piece No.2 for
strings quartet: a blink) 1983
- Es inevitable (It's unavoidable) for piano, 1983
- Se vuelve relámpago (It turns into a flash of lightning) for
piano and percussion, 1983
- Pobre música electrónica pobre (Poor electronic poor
music) for recorded voices
imitating electronic sounds, and theatrical actions, 1983
- Un guiño (A blink) quartet, 1983
- A ver si nos entendemos (Let's see if we understand each other) for
piano and electronic sounds, 1983
- Glooskap and Lindú, narration with electronic sounds, 1984
- Un minuto de silencio por favor - o ni en sueños - (a minute
of silence please - or not
even in dreams -) for recorded electronic sounds, 1984
- Anjá, ansina non má for Latin American instruments
orchestra or percussion group,
1984
- Misterios: 1. El giro del destino / 2. Afán de logros / El
balance de los poderes
(Mysteries: 1. The turn of destinies / 2. Thirst for
achievements / 3. The balance of
powers) for piano, 1984
- Suite No.1 en cinco movimientos para concertina inglesa (Suite No.1
in five movements for English concertina), 1984
- Um-um-é-hum-ah for recorded electronic sounds, 1984
- Sin lirismo no es lo mismo (Without lyricism it's not the same) for
Alt Sax, 1984
- No todo se ha perdido: 1. A la usted / 2. Alado / 3. Tres - Tres
canteres (Not everything
is lost: 1. at your way / 2. Winged / 3. Three) three
chants for guitar, 1984
- Dar (To give) for flute, violin, cello, percussion and piano, 1985
- Seis poemas de Cesar Vallejo (Six poems from Cesar Vallejo) for voice
and piano, 1985
- (Illusions heritage) for reed flutes, membrane sound instruments,
wooden idiophones
and maracas, 1985
- Seis poemas de Cesar Vallejo (Six poems from Cesar Vallejo) for
mezzo-soprano and piano, 1985
- El centro está adentro (The center is inside) for piano, 1986
- Huellas de voces perdidas (Traces from lost voices) 12 pieces for
synthesizer Roland JX-3P with PG200
- Uno-dos-tres (One-two- three) for three percussionists: bongos, Latin
timbale drums and congas, 1986
- Vitrales (Vitraux) for symphonic Band, 1986
- Repertorio 1986 para el grupo Ipso Facto: Reto Positivo para
concertina inglesa,
sintetizador y percusión; Siete canciones para
mezzosoprano y grupo 'Ipso Facto' Tu
ventana, Pasos a Oscuras, Mucho me temo que sí nos
queremos, Sin ti, Reflexiones,
Intuye intuición, Capaz de amarte (Repertoire 1986
for the music group 'Ipso Facto':
Positive challenge for English concertina, synthesizer and
percussion; Seven songs for mezzo-soprano and group 'Ipso Facto': Your
window, Steps at dark, Much I fear but yes we love each other, Without
you, Meditations, Sense intuition, Able to love you) 1986
- Rayas de tigre (Tiger rays) for English concertina, alt and
vibraphone, 1986
- La cacería del NHOC (The hunt of the NHOC) for recorded
electronic sounds, 1986
- ¡Que sí te lo digo! (I tell you it indeed!) for two
piccolo flutes, 1986
- Ímpetu - Arreglo de Buscando el encuentro, encuentro la
búsqueda (Impetus -
Arrangement from Searching for the encounter, I encounter the
search) for piano and two percussionists, 1986
- Suave, suave, fluye suave, fluye, fluye, suave fluye (Soft, soft, it
flows soft, it flows, it
flows and soft it flows) for piano 4 hands and/or recorded
electronic sounds, 1986
- En el árbol de la verdad, cuelgan muchos frutos
extraños (From the tree of truth hang
many strange fruits) for organ, 1987
- Pies-ligeros (Slight-feet) for recorded electronic sounds, 1987
- Pájaro bobo (Stupid bird) for recorded electronic sounds, 1987
- Amantes - y su epílogo: Amigos (Lovers - and epilogue: Friends
-) for violoncello and
piano, 1987
- ¡Vaya! (Go!) for symphonic Band, 1987
- Repertorio 1987 para el grupo 'Ipso-Facto': Colección 87 <
1. Cálida Rueda / 2. Dioses de América / 3. Despedida
> (Repertoire 1987 for the group 'Ipso Facto': Collection 87 <1.
Warm Wheel / 2. Gods of America / 3. Farewell >) for baritone and
piano, 1993
- Cinco canciones ¿ingenuas? (Five silly songs?) for baritone
and a performer with
amplified home-made instruments, 1995
- Toccata for piano solo, 1995
- Concertino No. 1 en tres movimientos (Concertino No.1 in three
movements) for Alt
English Concertina and strings, 1996
- 3 piezas (3 pieces) for 'Liralata' and recorded electronic sounds,
1996
- Cuarteto con piano No. 1 (o creamos o erramos) en cuatro movimientos:
I. Movido [7']; II. Menos movido pero con mucho sabor (Homenaje a Eddie
Palmieri) [8'30'']; III.
Lento [10'30'']; IV. Movido con fugados [7'] (Quartet with
piano No.1 - whether we
create or we wander - in four movements: I. Moved [7 '];
II. Less moved but with a lot of
flavor, Homage to Eddie Palmieri [8'30'']; III. Slow
[10'30 '']; IV Moved with fugues (7 '),
1996-1997
- Perceptiva No. 1 (Perceptive No.1) for recorded electronic sounds,
1998
- 4 Trances: Trance 1: Fuego para concertina inglesa alto y sonidos
electrónicos / Trance 2: Tierra para m'bira rústica de
fabricación casera y sonidos electrónicos / Trance 3:
Agua para concertina inglesa alto y sonidos electrónicos /
Trance 4: Aire para campanelli, cortinero de fabricación casera
y sonidos electrónicos (4 trances. Trance 1: Fire for Alt
English concertina and electronic sounds / Trance 2: Earth for homemade
rustic m'bira and electronic sounds / Trance 3: Water for Alt English
concertina and electronic sounds / Trance 4: Air for carillon, homemade
curtains-hanger and electronic sounds), 1999
- Energías liberadas (Liberated energies) for diverse sound
objects and recorded electronic sounds, 1999
- ¡¿Qué tal?!¿cuál es cuál?
(How's it going? Which is which?) for flute and harp, 1999
- Dos piezas para dos bolsas plásticas (Two pieces for two
plastic bags) 2000
- Una de cinco (One of five) for five front carillons, or one live
carillon and four pre-
recorded, 2000
Music for Films:
- Primer canto (First chant) original music for a
short-film from Roque Zambrano, 1985
- Relevé original recorded electronic sounds music for the
short-film from Oscar Lucien,
1987
- Incidental music for 10 documental videos for the series Four
Republics, Lagoven
Notebooks, 1991
- Original incidental music for the documental video for Corpoven Forms
from the
Beginning from Marco Colantoni, 1992
- Original incidental music for 12 documental videos for Corpoven's
series Venezuela,
Magic Earth - the National Parks, 1992-1993
- Original incidental music for Radio Caracas Television's series
"Expedition" (documental video) Cloudy Tropic's Jungles, 1996
- Original incidental Music for PDVSA's documental video series
Venezuela, Magic Earth; Conversations with a Paradise, 1998
Source:
Information furnished by the composer.
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