Video of the "20th Century Tango" recital at the Juan March (May 23, 2026). Tangos by Albéniz, Puccini, Satie, Haba, Jolivet, Milhaud, Schulhoff, Ginastera, Stravinsky, Barber, Nancarrow, De Pablo, Tiensuu, Piazzola, Beytelmann, Gandini and Ziegler. And an absolute premiere of Nacho Brasa

Metarmophoses I by George Crumb. Video of the premiere in Spain. Juan March Foundation November 20, 2019.

Simurg (1980), Mario LAVISTA (1943-2021) "I discovered Simurg in a story by Jorge Luis Borges called El acercamiento a Almotásim. What I did musically in Simurg was to invent a harmonic system which, if one uses it mechanically, if there is a strategy at the beginning, at the end of the work one realises that one has to go back to the beginning. It's a circular form. I got that from the harmony I was using at the time. Generally, traditional harmony moves from left to right, it always ends in the cadenza and ends in the piece. I wanted something that didn't end, that would just break off, that 'the' last note you hear could be taken to the beginning of the piece, to make a circular shape. I think it worked out"

*Su-Muy-Key* (2004) by Gabriela Ortiz. Su-Muy-Key was an exotic dancer during the Golden Age of Mexican cinema in the 1940s and 1950s. She performed mambo in various films, as well as in theaters and famous cabarets of the era. This work is part of a series by Mexican composer Gabriela Ortiz dedicated to mambo dancers—a series that also includes Mambo Ninón (for saxophone and piano), Estudio Tongolele (for saxophone), and Las Dolly Sisters (for clarinet and saxophone).

Deformación y artificio (2021) for piano & fixed electronics by Alejandro ROMERO: "The piece is conceived as a continuous flow in which the piano and the electronics coexist as two independent frameworks. Both instruments start together and complement each other in such a way that they form a sonorous body that seeks dialogue and opposition between them. Deformation and artifice are figures that appeal to gesturality and its effects, to a singularity that is discovered to be ungraspable in its own becoming, but that in its very transformation contributes as a resonant trace in the memory. Figures that trace a sonorous experience and that make sense in the vertiginousness and saturation of a musical torrent in constant updating. Work dedicated to the pianist Alberto Rosado"

Ballade No. 3 (2020) by Cabriel ERKOREKA is the third piece of a four-piece project, clearly alluding to Chopin's four Ballades or Brahms's Vier Balladen op. 10, but not intended as a continuation of those works in terms of their emotional projection. A strong narrative tendency could be inferred from the title, in a forward movement which, however, will be turbulently interrupted by various interferences caused by the different materials used.

Monólogo 4 (2020) from confinement. César CAMARERO. It is not every day that a pianist receives a gift like the one César Camarero sent me last summer. Although I have played much of his chamber music and solo piano work, it had been a long time since I had immersed myself in his very personal style. Molólogo 4 is a further twist on resources he has been using for some time, but synthesised in a short work of just over two minutes. Few like him nowadays elaborate chordal textures using these dynamic juxtapositions and construct a polyphonic discourse so well assembled on a percussion instrument such as the piano. Pure poetry to listen to with good headphones.

Tangible (2011 2012) for piano, electronics and video Raquel GARCÍA TOMÁS, music Pere GINARD, video. The musical microcosm generated by the union of piano and electronics is mirrored in the equally ephemeral images, and this time it is the video that is integrated with the music, achieving a unique fusion.

Non linear recurrences (2017) from the II book of "Metaludios" by Gustavo DÍAZ-JEREZ. In this pieces confronts, through the electronic part, the tempered tuning of the piano (12ET) with that of an imaginary piano tuned in the Bohlen-Pierce scale (13ET). This overlapping of tunings gives rise to a series of "interferences" that are produced when the two pianos, the real and the electronic one, collide. And all this combined with the use of a neodymium magnet that is used in various ways on both the mid and low strings of the piano.

Cassini's Dream del V libro de "Metaludios" de Gustavo DÍAZ-JEREZ. Es una obra fascinante en la que la electrónica está tomada de las ondas de radio que la sonda Cassini obtuvo de los anillos de Saturno. El piano, en esta ocasión, colorea la parte electrónica creando una atmósfera onírica.

Inoltre by Javier TORRES-MALDONADO. Concert at Sala Netzahualcoyotl of the UNAM (Mexico City)

Production between Mexico, Argentina and Spain that we made during the month of August 2020. The beautiful music of Las Pupilas de la Luna is by my dear friend Georgina DERBEZ (2020) and is combined with stunning photographs of "Las Horas Negras" (2012) by Patricia ARIDJIS masterfully mounted in a video designed by Sebastián TORRELLA R. and edited by Cristian ROSSI.

Concert for piano and orchestra "Acertijos de Marfil" by Hilda Paredes. Mexican premiere: 16/02/2020 OFUNAM (Mexico). Massimo Quarta, cond.

Premiere of Disparate Femenino by Arturo FUENTES in the Sala Netzahualcoyotl of the UNAM (Mexico City)

Adagissimo, In termini estremi, nº3 (2019), for piano and electronics by Carlos D. Perales.

Inoltre de Javier TORRES-MALDONADO. Concierto en la Sala Netzahualcoyotl de la UNAM (México City)

Concierto para piano y orquesta "Acertijos de Marfil" de Hilda Paredes. Estreno en México: 16/02/2020 OFUNAM (México). Massimo Quarta, cond.

Estreno de Disparate Femenino ​​​​​de Arturo FUENTES ​​en la Sala Netzahualcoyotl de la UNAM (México City)

Adagissimo, In termini estremi, nº3 (2019), for piano and electronics de Carlos D. Perales.

Tortured vinyl de Jesús NAVARRO. Incluído en el CD-DVD e-piano_video&electronics