Un viento dorado foregrund

Un viento dorado

In a working session in Gênes (Belgium) with the ensemble eWave, we recorded several effects with the flute: whistle-tones, key noises, wind sounds imitating breathing, animal imitations, etc. It was very suggestive timbre material, but it also contained extremely distinct differences.

I added the recitation of two texts and various city sounds (traffic noise) and nature sounds (wind, rain, etc.) to these flute materials.

The first text is an extract from "La transformación" [The transformation] by Pascal Fourvel. The second I took from "The travels" of Marco Polo. The narrators were Jean Marc Chouvel and Diego Sáiz. The narrations are the common thread of the music, and their sequences form several contrasting pictures in the piece.

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Rosarena foreground


A song may be too short to be able to describe the feelings that you have for a person.

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Meditación azul foregrund

Meditación azul

It was my interest in the therapeutic power of music and the relationship between high and low frequencies, between colours and sounds, that inspired the title.

I worked with the violinist Agustí Coma on various technical aspects of the violin for the composition of "Meditación Azul" [Blue meditation]. I wanted to create a human and spiritual piece, prolonging the glissandos like breathing, with a fragile sound that leads to questioning, to the unspoken, towards an inner journey.

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Cover of Lur


Sound fluid that advances, empowering itselve, getting timbral registers and propousing transformations until it achieves its sound fullness.

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Cover of Bakarrean II

Bakarrean II

Bakarrean II is part of the previous work for guitar and live electronics from 1997 Bakarrean, this time the electronic part is fixed on an audio track with the possibility to divide it. The work appears as a new look from a distance, maintaining the original inertia and reconstructing the moment.
Cover of Zatiketa


In this work, I set out to fragment the entire maximum scope of piano. An enormous scope is offered by the piano, which I use as a starting point as the entirety of the mosaic that represents its fragmentation. The first and purest fragmentation occurs through the division of its scope in octaves, establishing immediately afterwards the major seventh interval, as the unit of fragmentation for the entire work. These units are shrinking and superimposing, giving rise to different but interrelated structures, forming a great set of sounds, allowing us to say that they share the same genetics. The process of narrowing becomes gradually exacerbates, multiplying the process of fragmentation, until the entire area becomes almost fully saturated. The musical discourse is also fragmented into sections that cater to the nature of each structure, while saving a relationship between the patterns that make it possible to identify the set as part of the same family.

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Cover of Azul invisible

Azul invisible

The work sets up a dialogue between the many sonorities of the cello and of electronics, a fundamental aim being to explore the articulation options of both elements. The work's musical discourse is structured by the varying lengths of a network of heights and intervallic series. The harmonic fabric is composed of materials both from the cello's own sonority and from electronics, deriving from the application of various resonators.

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Cover of Urbia


Urbia represents the idealized place, where one feels especially connected to one´s natural environment, without ceasing to be oneself. The Urbia terrain is a region of outhouses and pastures, surrounded by the Elgea and Aizkorri mountain ranges, the Oltza forest and the San Adrian tunnel that with its ancient causeway connects the lands of Guipuzkoa and Álava, crossing old beech and oak forests, riddled with ancestral dolmens and megaliths, and caves inhabited by goddesses and mythical queens. All of this, the forests, mountains, rocks, and caves, create a magic that makes Urbia a very special place in our land and in our ancestral culture.

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Cover of Danba II

Danba II

Danba II offers an auditory path through the acoustic characteristics of various instruments. It sets out a commitment to each instrument, exploring its timbral characteristics and attempting to dispense with traditional hierarchies. A search for affinities between the qualities of each one, both in timbral aspect and spatial behaviour: frequency height, intensity, timbral-harmonic spectrum, duration, directivity and acoustic environment. The materials occur throughout the piece, sometimes time-shifted to manifest a heterogeneous discourse. The electronics allow sound analysis and processing, re-creating each in an outward and inward path where the sonic result of an instrumental gesture in turn causes a new interpretive treatment.

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