My work as a composer has been related to many sources, distinct cultural expressions and aesthetic options.
I grew up in the middle of many mixtures of everything and thanks to that I developed myself with a huge musical criterion. I write music without worrying about the genre unless I work by concept.
There are many things I like to do with music. It takes me to poetry, painting, and the word and brings me back to its essence with that entire package.
When I was ten I listened to Bach and Beethoven and Janis Joplin and Joan Manuel Serrat.
How did these different kind of music interacted inside me? I DON’T know but there they are. They’ve travelled with me in every search…
Rock? Of course!! Janis was my passion, the speed, the anxiety, the solitude… there was nobody like her. So, I started as a rocker and at my performance I never came to be that… I insisted… I tested myself… It goes underneath; it’s something discreet, something unspoken that moves me.
Bach? The fluency of ideas, perfection, a whole scale: Agreement (everything coexists from the heart) but with mathematics, with great intelligence.
Beethoven? A stubborn passion for living. I don’t talk only about the 9th Symphony but also his chamber music, his convictions, his other symphonies, specially the 7th, 6th and the 5th, his sonatas, the Kruetzer.
All this first phase marked what I was looking for; I don’t know if I already found it. On the second phase there was Latin America. One more time I came back to the sound of word and I found myself with the greatest Singers of Argentina, Chile, but this time it arrived accompanied with ideas, with a developed sense of social justice and criticism. The figure of the “Singer†always risked itself. Victor Jara died like this, singing social word lovely. Atahuapa Yupanqui and Mercedes Sosa, on exile, such as many others that influenced me, Violeta Parra, not only words coined truth but also were beautiful, they flew or stayed in melodies of high aesthetic. I felt so full of all Latin America, read poets… The New Cuban Trova arrived, rich heiress of the Popular Movement of Argentine Songbook, sensual and smart combative. They’ve touched the bottom itself of my being.
1983. The Mexican Committee of the New Song is born just like the International Permanent Committee of the New Song. It was a hemispheric initiative principally, though it made noise even in Africa. I belonged to the first one.
After that I’ve got involved with voices of Italian baroque, with chamber concerts more than opera or dramatic concert. With Purcell’s Dido and Aeneas, Handel’s oratories, from there I went through Mozart, great healer of the voice and through Schubert. I found a bigger sense of transmission about human voice’s knowledge and, I still keep on admiring Maestro Porpora, Maestro GarcÃa, Maestro Emilio Pérez Casas, my mother.
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