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García, Fernando (b. July 4, 1930, Santiago). Chilean composer of mostly orchestral, chamber, choral, vocal, and piano works that have been performed throughout the world.
Prof. García studied composition privately with Juan Orrego-Salas, Carlos Botto and Gustavo Becerra-Schmidt in Santiago from 1949–60 and also studied analysis privately with Juan Allende-Blin in Santiago during this period.
His honors include the Premio Municipalidad de Santiago (1963, for América insurrecta, Op. 26) and four prizes in the Festival de Música Chilena in Santiago (honorable mention, 1963, for América insurrecta, Op. 26; honorable mention, 1964, for Sombra del paraíso, Op. 27; Third Prize, 1965, for Estáticas, Op. 28; First Prize, 1967, for Firmamento sumergido, Op. 39). More recently, he received an honorable mention in the competition of Providencia municipality (1997, for Dos paisajes urbanos, Op. 119) and commissions from SCD (1999, to compose Díptico sinfónico, Op. 145) and the Instituto Chileno Norteamericano de Cultura (2000, to compose Nacerá la aurora, Op. 164). Most recently, he received the Premio Presidente de la República (2000, for his œuvre), the Medalla de la Música del Consejo Chileno de la Música (2002, for his œuvre), the Premio Nacional de Arte (2002, for his œuvre), and the Medalla Rectoral de la Rectoría de la Universidad de Chile (2002, for his work as an academic). He has also been a member of the Colegio de Compositores Latinoamericanos de Música de Arte since 2000 and a Miembro de Número of the Academia Chilena de Bellas Artes del Instituto de Chile since 2004.
Prof. García is also active in other positions. He worked as a trombonist in the Orquesta Sinfónica de Profesores del Ministerio de Educación de Chile in Santiago from 1956–58 and served as inspector-librarian of the Coro de la Universidad de Chile in Santiago from 1960–63 and as president of the Asociación Coral Chilena in Santiago in 1962. He then served as director of the archives of the Instituto de Extensión Musical (IEM) in Santiago from 1963–67 and as its secretary from 1967–73 and as secretary (1965–68) and treasurer (1968–71) of the Asociación Nacional de Compositores in Santiago. He later served as music advisor to both the Ballet Nacional de Cuba and the Gran Teatro de La Habana from 1979–89. In addition, he has contributed numerous articles to journals in Europe and North America, as well as to the Diccionario de la Música Española e Hispanoamericana (2000, SGAE), for which he served as coordinator of the Chilean delegation. He has served as vice-director of the music journal Revista Musical Chilena in Santiago since 1993.
He taught analysis, harmony, music history, music theory, and solfège part-time at the Conservatorio El Golf in Santiago in 1953, the Conservatorio Ñuñoa in Santiago from 1954–56, the Escuela Moderna de Música in Santiago from 1956–61 and in 1964–65, and the Conservatorio Independencia in Santiago from 1957–59. He served as director of the music department at the Universidad de Chile in Santiago from 1970–73 and as president (1971) and vice-president (1972–73) of its Comisión de Extensión del Consejo Normativo. He later taught analysis, organology, research methodology, and other subjects as a professor at the Escuela Nacional de Música in Lima from 1974–78 and also served as director of its Taller de Investigaciones Musicales. He has taught American and Chilean music, analysis, the history of Chilean music, and organology as Profesor Titular at the Universidad de Chile in Santiago since 1992, where he has also served in numerous other capacities, including as secretary of the Comisión Central de Evaluación Académica since 1999.
Prof. García lived in exile in Peru from 1973–79 and then in Cuba from 1979–89, but has once again lived in Chile since 1989.
CONTACT INFORMATION
E-mail address: fgarcia@uchile.cl
Street address: Prof. Fernando García, Miraflores No. 666, Depto. 804, Santiago, Chile
Telephone (university): + 562 781 337
Fax (university): + 562 781 327
COMPLETE LIST OF WORKS (note that although the composer does not use opus numbers, they have been applied here in collaboration with Luis Merino)
STAGE: Quimera (1 act farce, libretto by Federico García Lorca), mezzo-soprano, tenor, bass, piano, 2 percussion, Op. 32, 1965; Urania (1 act ballet, choreography and scenario by Hilda Riveros), Op. 41, 1969 (incorporates sections of Urania, Op. 33; Sebastián Vásquez [Siglo XVI], Op. 35); Palabras de poeta (text by Pablo Neruda), actor, small orchestra (13 players), Op. 183, 2004
ORCHESTRAL: Tres trozos, small orchestra, Op. 13, 1956; Variaciones, large orchestra, Op. 19, 1959; Sinfonía, large orchestra, Op. 24, 1960, revised 1963; Estáticas, Op. 28, 1963 (second movement is a version of first movement Rápido of Estáticas, Op. 25); Urania, Op. 33, 1965 (sections also incorporated into Urania, Op. 41); La arena traicionada (11 de marzo de 1966), Op. 37, 1967; Firmamento sumergido, Op. 39, 1968; Las raíces de la ira (En recuerdo de Víctor Jara), Op. 48, 1976; Meditaciones, Op. 49, 1977; Temblor de cielo, Op. 52, 1979; Despertar de octubre (1917–1967), Op. 54, 1981; Puntos cardinales, string orchestra, Op. 59, 1984; De mi patria, Op. 70, 1987 (version of piano work); Endechas (1973–1988), Op. 71, 1988; El reposo del guerrero, Op. 75, 1989; Navegaciones, flute, harp, string orchestra, Op. 77, 1990 (also version for flute, harp, string quartet, Op. 96, 1994); Preámbulo a Crónicas americanas, small orchestra (flute, 2 oboes, 2 bassoons, 2 French horns, strings), Op. 84, 1992; Se unen la tierra y el hombre (text by Pablo Neruda), large orchestra, tape, Op. 85, 1992; Zonas eriales, clarinet, small orchestra, Op. 109, 1995 (section of Chile en cinco imágenes, a collaboration with Miguel Letelier-Valdés, Gustavo Becerra-Schmidt, Santiago Vera, Andrés Maupoint; may be performed separately; also version for clarinet, orchestra, Op. 195, 2005); Tres miradas, string orchestra, Op. 118, 1996
ORCHESTRAL: Dos paisajes urbanos, Op. 119, 1997; Misterios, small orchestra (2 oboes, 2 French horns, strings), Op. 142, 1998; De aquí y de allí, French horn, string orchestra, Op. 143, 1999; Tres cantos materiales, cello, string orchestra, Op. 144, 1999; Díptico sinfónico, large orchestra, Op. 145, 1999; Rincones sordos, string orchestra, Op. 154, 2001; Nacerá la aurora (homenaje a Charles Ives), orchestra (8 winds, French horn, 2 trumpets, timpani, percussion, strings), Op. 164, 2001; Dura elegía (En recuerdo de Jorge Peña), Op. 165, 2002; Dos temas de discusión, string orchestra, Op. 175, 2003; Luces y sombras, small orchestra, Op. 176, 2003; Juegos, percussion, string orchestra, Op. 177, 2003; Nuevos juegos, percussion ad libitum, string orchestra, Op. 178, 2003; Sine nómine (suite), string orchestra, Op. 184, 2004; Obertura concertante, 1-2 percussion, string orchestra, Op. 189, 2005; Homenaje (a Celso Garrido-Lecca), Op. 191, 2005; Implicaciones sonoras, large orchestra, Op. 192, 2005; Imágenes siderales, large orchestra, Op. 197, 2006; Concertante, trombone, string orchestra, Op. 201, 2006; Estaciones elegidas, string orchestra, Op. 202, 2006; Imprecación, Op. 209, 2007
CHAMBER MUSIC: Variaciones, violin, piano, Op. 3, 1953 (lost); Dúo, 2 violins, Op. 5, 1954 (lost); Trozo, bassoon, trombone, Op. 10, 1956 (lost); Variaciones, string quartet, Op. 11, 1956 (lost); Pieza, 2 trumpets, trombone, tuba, Op. 12, 1956 (lost); Movimiento, flute, trombone, viola, percussion, Op. 18, 1959 (lost); Evocaciones, flute, Op. 53, 1980; Tres bocetos, flute, oboe, clarinet, French horn, bassoon, Op. 56, 1983; Terrazas, French horn, trumpet, trombone, tuba, string quartet, 2 percussion, Op. 57, 1983; Tierras ofendidas, flute, oboe, clarinet, Op. 60, 1984; Dos paisajes, flute, clarinet, Op. 61, 1985; Ventana al camino, string quartet, Op. 62, 1985; Cuatro piezas breves, violin, piano, Op. 63, 1985; Tres bocetos, clarinet, piano, Op. 68, 1987; Las furias y las penas, oboe, clarinet, bassoon, Op. 72, 1988; Comentarios breves, flute, harp, Op. 73, 1989; Colección nocturna, flute, violin, piano, Op. 74, 1989; Objetos varios, clarinet, violin, piano, Op. 76, 1990; Tres micropiezas, kena (Andean flute), cello, Op. 78, 1991 (collaboration with Leonardo García); Reencuentro con el pintor Vergara Grez, flute, Op. 80, 1991; Viajando con Paul Klee, cello, piano, Op. 82, 1992; En el parque, French horn, 2 trumpets, trombone, bass trombone, Op. 83, 1992; Serie para cello solo, Op. 86, 1992; Juicios y opiniones, clarinet, violin, cello, Op. 87, 1993; Cuatro momentos, French horn, Op. 88, 1993; Cuatro micropiezas, flute, oboe, clarinet, French horn, bassoon, Op. 89, 1993; Desde Joan Miró, 4 percussion, Op. 90, 1993; Instantes, flute, piano, Op. 92, 1993; Aconteceres en el traspatio, flute, piano, Op. 94, 1994; Navegaciones, flute, harp, string quartet, Op. 96, 1994 (version of work for flute, harp, string orchestra); Cuatro glosas, violin, piano, Op. 97, 1994; Opciones, clarinet, violin, cello, piano, vibraphone, Op. 98, 1994
CHAMBER MUSIC: Tres piezas breves, guitar, Op. 100, 1995; Dichos y alcances, harp, Op. 101, 1995; Pájaros en el cenit, double bass, piano, Op. 102, 1995; Tiempo de espera, 2 flutes, piano, Op. 105, 1995; Miradas furtivas, flute, guitar, violin, viola, cello, Op. 106, 1995; Tres apuntes, cello, Op. 107, 1995; Ver y palpar, 2 double basses, Op. 108, 1995; Cuaderno de zoología, cello, piano, Op. 110, 1996; Al oído del tiempo, cello, double bass, Op. 111, 1996; De los sueños, E-flat clarinet, piano, Op. 112, 1996; Preludio, cello, Op. 113, 1996; Orden, guitar, Op. 114, 1996; Microeventos, harp, Op. 115, 1996; Cuatro proposiciones, flute, guitar, Op. 116, 1996; Cuatro introspecciones, string quartet, Op. 120, 1997; Siete palabras, 5 clarinets, Op. 122, 1997; Suite breve, oboe, piano, Op. 124, 1997; Cuatro estructuras, French horn, 2 trumpets, trombone, tuba, Op. 125, 1997; A posteriori, cello, piano, Op. 126, 1997; Glosario, flute, oboe, guitar, Op. 127, 1997; Diálogos, violin, cello, Op. 128, 1997; Cinco sortilegios, flute, viola, piano, Op. 129, 1997; Cinco proposiciones, 2 celli, Op. 131, 1997; Tríptico, flute, oboe, clarinet, bassoon, French horn, trumpet, trombone, Op. 132, 1998; Cinco aproximaciones, flute, piano, Op. 133, 1998; Sombra y horizontes, flute, alto saxophone, guitar, piano, Op. 134, 1998; Tres murales, 4 French horns, 3 trumpets, 3 trombones, tuba, Op. 135, 1998; Aforismos, violin, cello, piano, Op. 136, 1998; Naturalezas muertas, oboe, Chilean harp, Op. 137, 1998; Acotaciones mínimas, oboe, guitar, Op. 139, 1998; Tres piezas, 4 saxophones, Op. 141, 1998
CHAMBER MUSIC: Arte de pájaros, oboe, piano, Op. 146, 1999; Segunda serie, cello, Op. 147, 1999; Juicios y opiniones II, 2 clarinets, cello, Op. 148, 2000; Recados desde América austral, piano, string quartet, Op. 153, 2000; Cuatro pequeños comentarios, guitar, Op. 155, 2001; Tres momentos, flute, oboe, bassoon, guitar, cello, Op. 156, 2001; Dos piezas, 4 flutes, Op. 157, 2001; Puntos de vista, violin, cello, piano, Op. 158, 2001; Tres aproximaciones, 4 clarinets, Op. 159, 2001; Pájaros sin cielo, 4 flutes, Op. 160, 2001; Par, French horn, 2 trumpets, trombone, tuba, Op. 162, 2001; En la fertilidad crecía el tiempo, string quartet, Op. 163, 2001; Cuatro manchas sonoras, flute, alto saxophone, harp, cello, Op. 166, 2002; Tres diálogos, 2 guitars, Op. 167, 2002; Enfoques diversos, French horn, 2 trumpets, trombone, tuba, Op. 168, 2002; Seis estructuras mínimas, violin, cello, Op. 169, 2002; Paisajes interiores, flute, oboe, clarinet, French horn, bassoon, Op. 170, 2002; Tres visiones del espacio, clarinet, cello, piano, Op. 171, 2002; Tres sucesiones sonoras, flute, cello, piano, percussion, Op. 172, 2003; Tres cantos instrumentales, clarinet, piano, Op. 173, 2003; Visiones de América, 6 percussion, Op. 174, 2003; In Memoriam Sergio Ortega, clarinet, Op. 179, 2003; Buscando lejanías, string quartet, Op. 180, 2004; Universos mínimos, guitar, Op. 181, 2004; Preludio, 4 French horns, 3 trumpets, 4 trombones, baritone horn, tuba, 3 percussion, Op. 182, 2004; Nuevas visiones, 5 percussion, Op. 185, 2004; Seis disposiciones sonoras, cello, piano, Op. 186, 2004
CHAMBER MUSIC: Cuatro entramados sonoros, 3 flutes (all + piccolo, tarka [wooden Andean flute], 2nd + zampoña cromática [Andean panpipes], 3rd + bajón cromático [Andean panpipes]), clarinet, double bass, percussion, Op. 190, 2005; Trío suite, flute, oboe, violin, Op. 193, 2005; Dos por dos, vibraphone, marimba, Op. 194, 2005; Tres por tres, 3 percussion, Op. 198, 2006; Suite breve, cello, Op. 199, 2006; Imprecisiones y certezas, flügelhorn, althorn, euphonium, 2 tubas, Op. 203, 2006; Crepusculario, guitar, Op. 204, 2006; Orden segundo, guitar, Op. 205, 2007; Octeto, 6 trombones, 2 bass trombones, Op. 206, 2007; Dúo estival, violin, piano, Op. 207, 2007; Dos propuestas, 4 percussion, Op. 208, 2007
CHORAL: Tu es Petrus (text from the Liber usualis), 4 mixed voices, Op. 7, 1954 (lost); Dos cantos corales (texts from unknown sources), 4 mixed voices, Op. 8, 1955 (lost); Dos dúos corales (text by Vicente Huidobro), 2 male voices, Op. 9, 1955 (lost); América insurrecta (text by Pablo Neruda), male speaker, mixed chorus, orchestra, Op. 26, 1962; Himno de la CUT (text by Edecio Alvarado), soloists, mixed chorus, 2 flutes, oboe, bassoon, trombone, 3 violins, double bass, percussion, Op. 29, 1963 (also version for voice, piano); Canto a Margarita Naranjo (Antofagasta, 1948) (text by Pablo Neruda), male speaker, mixed chorus, large orchestra, tape, Op. 30, 1964; Los héroes caídos hablan (7 de noviembre 1917–1967) (texts from letters written by Russian soldiers during World War II), 3 speakers, mixed speaking chorus, small orchestra, Op. 40, 1968; Insectario (text by Dulce María Loynaz), 4 mixed voices, piano, Op. 117, 1996; Del reino animal (text by Dulce María Loynaz), 4 mixed voices, Op. 140, 1998
VOCAL: Tres canciones (text by Guillaume Apollinaire), voice, piano, Op. 4, 1953 (lost); Tres canciones (text by Vicente Huidobro), voice, piano, Op. 6, 1954 (lost); Poemas árticos (text by Vicente Huidobro), tenor, clarinet, trombone, violin, 2 percussion, Op. 16, 1957; Cantos de angustia (text by Federico García Lorca), mezzo-soprano, trombone, Op. 23, 1959; Voz preferida (text by Vicente Huidobro), male speaker, 4 percussion, Op. 22, 1960; Sombra del paraíso (text by Vicente Aleixandre), tenor, clarinet, bassoon, violin, cello, 2 percussion, Op. 27, 1963 (also shorter version as Recitativos, tenor, piano, Op. 65, 1985–86); Himno de la CUT, voice, piano, Op. 29, 1963 (version of choral work); Tres canciones para una bandera (text by Andrés Sabella), tenor, piano, Op. 31, 1965; La tierra combatiente (text by Pablo Neruda), female speaker, 2 male speakers, small orchestra (4 winds, 2 French horns, trombone, piano, vibraphone, strings), Op. 34, 1965; Sebastián Vásquez (Siglo XVI) (text by Andrés Sabella), soprano, male speaker, orchestra, Op. 35, 1966 (sections also incorporated into Urania, Op. 41); Cuatro poemas concretos (texts by Ferreira Gullar, Décio Pignatari, José Lino Grünewald, Augusto de Campos), tenor, string quartet, Op. 36, 1966 (also two versions by Gustavo Becerra-Schmidt for soprano/tenor, string orchestra, 1974; soprano, piano, 1977); Cantos de otoño (texts by Andrés Sabella, Federico García Lorca), tenor, piano, Op. 42, 1969 (also version for soprano, piano, 1984); Sabelliades a Ruiseñor Rojo (text by Andrés Sabella), tenor, piano, Op. 43, 1972; ¡Cómo nacen las banderas! (1922–1972) (text by Pablo Neruda), 2 speakers, large orchestra, Op. 44, 1972
VOCAL: La patria ensangrentada (text by Pablo Neruda), tenor, 2 pianos, 4 percussion, Op. 46, 1974; Universo (text by Vicente Huidobro), tenor, flute (+ piccolo), bassoon, trumpet, violin, viola, cello, piano, 2 percussion, Op. 47, 1973–75; Nace la aurora (text by Pablo Neruda), voice, string quartet, Op. 50, 1978; Quién piensa en el olvido (texts by Ómar Lara, Óscar Acosta), baritone, English horn, clarinet, cello, 3 percussion, Op. 51, 1979; Tres recitativos breves (text by Sonia Luz Carrillo), soprano, piano, Op. 55, 1982; El espejo de agua (text by Vicente Huidobro), bass, piano, Op. 58, 1983 (also version for baritone, piano, 1992); Decires de espanto y amor (text by Ómar Lara), soprano, piano, Op. 66, 1986 (also version as Cuatro recitativos, bass, piano, Op. 67, 1987); Bestiario (text by Nicolás Guillén), soprano, piano, Op. 69, 1987; Crónicas americanas (text by Pablo Neruda), male speaker, small orchestra (flute, 2 oboes, 2 bassoons, 2 French horns, strings), Op. 79, 1991; Pasión y muerte (text by Vicente Huidobro), alto, clarinet, violin, cello, piano, Op. 81, 1992; Cinco poemas de 'Horizon Carré' (text by Vicente Huidobro), female voice, flute, harp, guitar, Op. 91, 1993; Retrospecciones (text by Vicente Huidobro), female voice, alto saxophone, piano, Op. 93, 1993; Citas textuales (text by Vicente Huidobro), soprano, clarinet, piano, Op. 123, 1997
VOCAL: Miradas y recuerdos (text by Vicente Huidobro), tenor, flute, oboe, guitar, violin, cello, Op. 138, 1998 (also version without violin, 1999); Cantos de la noche (text by Vicente Huidobro), 2 sopranos, piano, Op. 150, 2000; Recitativo y aria (text by Vicente Huidobro), baritone, viola, Op. 151, 2000; Rosa perfumada entre los astros (text by Vicente Huidobro), alto, clarinet, violin, cello, piano, Op. 152, 2000; Retazos de poesía (text by Vicente Huidobro), alto, piano, Op. 161, 2001; Poemas en tiempos de guerra (text by Vicente Huidobro), tenor, piano, Op. 187, 2004; Buenas maneras (text by Ómar Lara), baritone, piano, Op. 188, 2004; Cuatro apuntes líricos (texts by Sonia Luz Carrillo, Alberto Pérez, César Vallejo, Vicente Huidobro), soprano, piano, Op. 196, 2005
PIANO: Serie No. 1, Op. 1, 1952 (lost); Serie No. 2, Op. 2, 1953 (lost); Serie No. 3, Op. 14, 1957 (lost); Serie No. 4, Op. 15, 1957 (lost); Siete trozos, Op. 17, 1958 (lost); Estáticas, Op. 25, 1961, revised 1989 (also version of first movement Rápido as second movement of Estáticas, Op. 28); Romerías, piano 4 hands, Op. 38, 1968; Tres trozos, Op. 45, 1973, revised 1990; De mi patria, Op. 64, 1986 (also version for orchestra, Op. 70); Oposiciones, Op. 95, 1994; Tríptico, Op. 99, 1995 (also revised with shorter second movement Rápido as Signos de Altazor, Op. 103, 1995); Pájaro desconocido con pañuelo soberbio, inside piano, Op. 104, 1995; Dos piezas breves, Op. 121, 1997; Nueve relatos, Op. 130, 1997; Arpillera, Op. 149, 2000; Atisbos sonoros, Op. 200, 2006
FILM SCORES (DIRECTOR): Dulce patria, Op. 20, 1959 (Fernando Balmaceda; collaboration with León Schidlowsky) (lost); La ciencia universitaria y la industria, Op. 21, 1959 (Juan Morales; collaboration with León Schidlowsky) (lost)
DISCOGRAPHY
Crónicas americanas, Op. 79. Pedro Sánchez, speaker; Fernando Rosas/Orquesta de Cámara de Chile (Alerce/MINEDUC [Ministerio de Educación (División de Cultura)], 1995)
Cuatro piezas breves, Op. 63. Manuel Henríquez, violin; Max Lifchitz, piano (CAB [Convenio Andrés Bello], 1996)
Opciones, Op. 98. Ensemble Quadrivium (Ensemble Quadrivium, 1996)
Pasión y muerte, Op. 81. Ensemble Bartók (Ediciones Fonográficas SVR: 6003-2, 1997)
Serie para cello solo, Op. 86; Viajando con Paul Klee, Op. 82; Cuaderno de zoología, Op. 110. Héctor Escobar, cello; Ximena Cabello, piano (Ediciones Fonográficas SVR: 3006-7, 1998)
Retrospecciones, Op. 93. Rosario Cristi, voice; Miguel Villafruela, alto saxophone; Clara Luz Cárdenas, piano (FONDART [Fondo de Desarrollo de las Artes y la Cultura], 1998)
Tres piezas breves, Op. 100. Luis Orlandini, guitar (ABA [Academia Chilena de Bellas Artes]/Ediciones Fonográficas SVR: 900000-2, 1999)
Cuatro introspecciones, Op. 120. Cuarteto de Cuerdas del Conservatorio de Música de la Universidad Austral de Chile (Ediciones Fonográficas SVR: 3006-10, 1999)
Glosario, Op. 127. Trío Serenata (Asociación Nacional de Compositores/Ediciones Fonográficas SVR: ANC/SRV 6003-3, 1999)
Naturalezas muertas, Op. 137. Osvaldo Molina, oboe; Tiziana Palmiero, Chilean harp (FONDART, 1999)
Cantos de otoño, Op. 42. Juan Eduardo Lira, tenor; Federico Heinlein, piano (Música [Nueva Época]/Casa de las Américas: 3, 2000)
Se unen la tierra y el hombre, Op. 85. Guillermo Rifo/Orquesta Sinfónica Nacional Juvenil (MINEDUC, 2000)
Glosario, Op. 127. Trío Serenata (Colegio de Compositores Latinoamericanos de Música de Arte/Universidad Nacional Autónoma de México, 2000)
América insurrecta, Op. 26; Urania, Op. 33; Cuatro poemas concretos, Op. 36; Firmamento sumergido, Op. 39; Tierras ofendidas, Op. 60; Decires de espanto y amor, Op. 66; Se unen la tierra y el hombre, Op. 85; Retrospecciones, Op. 93; Naturalezas muertas, Op. 137. Ninón Lima, soprano; Rosario Cristi, voice; Hernán Würth, speaker, tenor; Nicolai Jaeger, flute; Osvaldo Molina, Peter Veale, oboes; Erich Wagner, clarinet; Miguel Villafruela, alto saxophone; Tiziana Palmiero, Chilean harp; Clara Luz Cárdenas, Arline Pérez, pianos; Cuarteto Santiago; Agustín Cullell, Antonio Tauriello, Victor Tevah/Coro Universidad de Chile, Orquesta Sinfónica de Chile; Guillermo Rifo/Orquesta Sinfónica Nacional Juvenil (ABA/FONDART, 2002)
(Last updated on July 9, 2007)
