Was born in Mexico City in 1965. His Kukarikarus, for flute, clarinet, percussion, pianoforte, violin and cello was composed in 2002 and is dedicated to the Icarus Ensemble. The writing for the piano is so broad in scope that it occupies three staves in the score and it is the piano which opens the piece with ostinatos in the bass, short figures in the middle of the keyboard and chords in the treble. The clarinet then slides in with held notes and the flute also produces long sounds. The violin and cello employ highly effective crescendos and broad sweeps of sound as they maintain the fast, sustained character of the phrasing. The piano is constantly percussive in nature and the percussion instruments themselves come to the fore in the final section in which the rhythmic energy they create is added to by the other instruments as they enter the proceedings with determination, particularly the flute which frequently bursts through the tightly-woven textures of sound. With its immediate impact and strongly physical appeal, this work like the others on the present recording is performed with impeccable precision in exactly the manner called for by the composers themselves.
All of the compositions heard here were written no more than a few years ago and are quite clearly an expression of our time. They are of value to anyone seeking an understanding of our era and culture and what we and others like us can and cannot do. In listening closely, it is perhaps no great exaggeration to claim that we are indeed listening to our own selves, being as we are all many-sided, all in the singular yet equally all in the plural. In much the same manner as our own time and, naturally, as music itself.