Caracas Counterpoint was commissioned by and dedicated to the National Flute Orchestra of Venezuela. The work is structured in three movements performed without pause, creating a continuous 16-minute narrative. The title is a direct homage to Steve Reich’s Vermont Counterpoint; while I utilized some of Reich’s signature rhythmic techniques as a foundation, the heart of the piece is decidedly Caribbean, heavily influenced by the pulse of pop music and the urban energy of Venezuela’s capital.

I. Funkoso Sabroso

The opening movement, "Tasty Funky," merges the groove-driven world of funk with the rigorous precision of Reichian canons. The result is a highly rhythmic, interlocking texture where "funky" motives are layered and phased, creating a sound that is both intellectually structured and physically infectious.

II. Peces Extraños del Guaire… en cola (Weird Fishes from the Guaire River… Stuck in Traffic)

This title is a playful collision of two disparate musical worlds. It references the Venezuelan ska band Desorden Público ("Peces del Guaire"—referring to the highly polluted river that bisects Caracas) and Radiohead ("Weird Fishes/Arpeggi").

The music draws primarily from the Radiohead influence, utilizing slow, sinuous, and repetitive patterns that unfurl with deliberate patience. During the composition process, the slow-motion development of these themes reminded me of the ubiquitous experience of being "en cola" (stuck in traffic) in Caracas. The music captures that unique urban suspension: a mixture of frustration, beauty, and stillness.

III. Magalenha?

The finale, "Magalenha?", takes its inspiration from the famous samba of the same name. While the rhythmic drive and certain "grooves" are unmistakably reminiscent of a Brazilian carnival, the material is entirely distilled through a Venezuelan filter. The question mark in the title suggests a playful subversion: a samba that has traveled north and been transformed by the spirit of Caracas, leading to a high-energy, defiant conclusion.