In these two settings of the iconic Argentine poet Alfonsina Storni, Reinaldo Moya explores the duality of Storni’s voice: her sharp-edged critique of urban monotony and her desperate, lyrical longing. Originally composed for soprano and guitar, the cycle leans into the inherent intimacy of the medium, creating a soundscape where the voice and instrument are inextricably linked. Following their premiere in August 2024, the Star Tribune praised the work for its "haunting clarity," noting that Moya’s settings "capture the profound loneliness and sudden bursts of passion that define Storni’s legacy."

I. Cuadrados y ángulos (Squares and Angles) 

The first song is a setting of Storni’s famous critique of architectural and social conformity. To represent the "casas enfiladas" (houses in a row) and the rigid "cuadrados, cuadrados, cuadrados" of the poem, the guitar features a gently shifting meter. These rhythmic patterns create a sense of geometric movement, over which the vocal line unfurls in long, lyrical arcs. The music captures the poem’s central irony: the human spirit’s attempt to remain fluid and "lyrical" while trapped within a world of right angles.

II. Llévame (Take Me) 

Contrasting with the structural rigidity of the first movement, Llévame is an intensely romantic and vulnerable plea. The harmonies here are far more dense and chromatic, mirroring the "sed de amor" (thirst for love) found in Storni’s text. The vocal line is designed to be visceral and tactile, conveying the physical sensation of "dragging" a partner into an embrace. As the Star Tribune noted, the song's ending leaves the listener with a sense of "exquisite, lingering tension," perfectly embodying the poem’s desire to be carried away into the unknown.