Chamber

Farbkreis is Inspired by Goethe’s color theory. The piece explores a wide spectrum of string textures through a series of increasingly intense musical cycles.

An ennactment of a primal musical ritual for cello and piano exploring the universal shamanic symbol of the World Tree.

Yara weaves together the indigenous myth of Venezuela’s most powerful female deity, Afro-Venezuelan bamboo drumming, and a musical battle between Spanish and Venezuelan folk traditions.

Ávila celebrates the spirit of Caracas by blending the elegant waltzes of Antonio Lauro with the vibrant, 5/8 pulse of the Venezuelan merengue.

A series of celebratory dances for clarinet and strings that explores the delicate intersection of grief and joy in a loving tribute to the composer’s brother. Named as one of the best concerts of 2025 by the Washington Post.

This work bridges the cyclical worlds of García Márquez, the rhythmic loops of salsa, and the haunting doubles found in Schubert and Radiohead.

The Juggler of Day takes its inspiration from Emily Dickinson's poem of the same name. The piece is a shimmering exploration of the "blazing gold" and "leaping" energy of a sunset.

An elegiac work for soprano and string quartet that uses the metaphor of birds to describe how the composer will explain his native Venezuela (and all of its crises) to his young children.

Coroto Dances is an exciting basson sonata assembled from the unlikely fragments of Venezuelan waltzes, Arabic scales, and all sorts of rhythmic twists.

Chapter One is a musical representation of new beginnings and literary tropes, inspired by the structure of a novel composed only of first chapters.

Duende is an homage to  the electrifying performances by Astor Piazzolla. It brings yogether the dark duende energy of the tango, pitting restless fury against moments of lyricism and beauty.

Diáspora is a poignant and rhythmic reflection on the Venezuelan crisis as experienced from abroad. 

Inspired by Anthony Marra’s A Constellation of Vital Phenomena, this work is a fragile meditation on memory and humanity, where faint echoes of traditional dances struggle to survive amidst massive human loss.

Ghostwritten Variations brings to life the scores of fictional composers from the masterpieces of Thomas Mann, David Mitchell, Richard Powers, and Kim Stanley Robinson.

Breathe is Inspired by the shimmering textures of Ravel. The piece transforms the flute ensemble into a single, breathing organism that oscillates between ethereal clouds of sound and syncopated rhythms.

Caracas Counterpoint  is a vibrant tribute to minimalist master Steve Reich that reimagines the pulse of the city through funk-inspired canons, Radiohead-infused traffic jams, and an exciting Venezuelan "samba."

Violin 3.0  reimagines the violin trio as a single, digital-age mega-instrument fueled by interlocking, circuit-like rhythms. 

This work fuses the relentless grooves of minimalism with violent contrasts, and the structural rigors of classical sonata form to create a "sonata-product," a kind of hybrid industrial and classical soundscape.

A dark, turbulent response to Debussy and Proust, this trio explores the imagery of a submerged cathedral rising out of the sea.

A pan-American journey for violin and piano, Imagined Archipelagos links the rhythmic precision of Mayan calendars with the fiery spirit of Venezuelan dance through Derek Walcott’s metaphor of the island chain.

Hearing It Getting Dark is a  multi-layered reimagining of Faulkner’s The Sound and the Fury. This quartet translates the stream-of-consciousness of the novel into a landscape of violent memories and obsessions.

This work is relentless and fast-paced, eventually building to  a complex, layered soundworld all derived from a single, driving rhythmic cell.

Inspired by the poetry of Jorge Luis Borges, this work traces a path from a furious opening to a haunting state of emotional catharsis and temporal dissolution.

A work written during the composer's student years, it is a great introduction to his soundworld. It begins with quiet melancholy before erupting into a volcanic climax of "Shostakovichean angst" (The New York Times).

Crónica de una muerte anunciada translates García Márquez’s tale of honor and violence into a musical landscape of distorted wedding marches and a dark fugue made up of rumors. The brutal ending reenacts the violent episode at the center of the novella.

A short exciting collection of Venezuelan dances that includes a merengue, a waltz, and a fast-paced joropo