Bassoonist, pianist, composer

National Composition Prize of Costa Rica 2024 “Carlos Enrique Vargas”

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The black mamba, one of the most venomous snakes on the African continent, inspires the first movement of this concerto. This beginning represents the awakening of the snake, with delicate and sensual movements. As it progresses, it turns into a dance that transforms into an intense battle between the snake and its prey, culminating in a hypnotic ending marked by a waltz of death. On the other hand, the “Mambo” emerges as a genre that reflects African influence in America, being one of the most recognized Latin rhythms. In this movement, after the confrontation with the Mamba, we find ourselves at a vibrant party full of color and dance, where a final flash briefly evokes the struggle with the snake, but concluding in a festive celebration.

This piece was finished and premiered by the composer con October 9th, 2024, in San José, Costa Rica.

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In transit, we find ourselves suspended between destinations, our journey is proof of the fluidity of life. It is a state in which the present opens, full of fleeting encounters, changing landscapes and infinite possibilities. Expanding physical distances or exploring the complexities of thought invites reflection, growth, and the opportunity to embrace the beauty of the unknown. When we find ourselves in moments of transition, we discover the richness of the journey itself, where each step forward holds the promise of new beginnings and unforeseen horizons. 

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This piece was finished in 2024, and was premiered at the IDRS 2024 Conference on July 23rd, 2024.

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In numerous cultures, funerals are moments filled with sadness due to the departure of a loved one from the earthly plane. This loss causes deep unease among those who were close, due to the absence that person leaves behind.

However, many philosophies and religions hold the belief in life after death, whether in a higher spiritual plane or through reincarnation. In this way, death is not perceived as a wholly negative event. Although the absence of the loved one is felt, there is also the joy of knowing that this person will enter a new plane, and that in the future, we will be able to reunite with them and with all those who have left this world.

This work reflects, on one hand, a funeral, filled with dissonances and sound textures that symbolize the emotional conflicts that arise on such occasions. However, after this funeral, we transition to a celebration, where, despite the tonal quality still being minor, representing the sadness of the loss, we find ourselves in a different atmosphere, full of dances and movement, leading us into a new phase of that loss. The dissonant textures fade away, giving way to clearer and simpler textures, suggesting that the loss is not entirely negative, and that after the sadness of the funeral, the horizon appears clear.

Note: The work Abismo (Abyss), for solo oboe, can be included as the first movement of this work; in that case, the work should appear in the program as: Abismo, Funeral, y Fiesta.

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This work premiered on March 7, 2025, at The University of Kansas, during the Latin American Art Music Festival.
The quintet consisted of:
Abigail Short, flute
Luis De León, oboe
Madeline Echternacht, clarinet
Luke Frith, bassoon
Joshua Wheeler, horn

Abyss is inspired by the verses that the Argentine poetess Alejandra Pizarnik (1936-1972) left written in her room before her lifeless body was found in her home. The verses she left, before making her tragic decision, were:

I don't want to go 

anywhere 

but to the bottom 

In this work, the oboe stands as the protagonist of the internal struggle, symbolizing the abyss that resided within the author as she expressed her thoughts. The penetrating sound of the oboe evokes cries of desperation, while moments of doubt and melancholy are accentuated by the instrument's ability to produce both sweet and dark notes.

The piece intertwines the motif of screams and anguish with moments of meditation, as well as frantic, almost hysterical moments, creating an allegory of the various mental states that arise when we confront the inner abyss of our soul.

This piece was finished in 2024.

A short lyrical piece for viola and piano. This piece was written for violist Orquídea Guandique in  

2023, and the premier was in March 23rd, 2023, at the Theater of Arts, University of Costa Rica

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Written in 2022, this piece is based on the folk legend of  "Los Duendes" of the Central American region.

This work was premiered at the Sala Cullell of the Music School, University of Costa Rica, on Septembe 29th, 2022.

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Written in 2022, this piece is based on the folk legend of "El Coco" from Costa Rica.

This work was premiered at the IDRS 51st International Convention in Boulder, Colorado, on July 30 2022.

El Coco is published by Trevco Music Publishing.

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This work was written in 2020, during a workshop for composition for solo bassoon, given by composer Jenni Brandon, with the support of bassoonist Christing Schillinger. The piece has a dedicatory to Christin Schillinger.

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This work was written at the request of Dr. Orquídea Guandique Araniva, viola professor at the University of Costa Rica.

The work is a free fantasy on the theme of Mille Regretz ("A thousand regrets"), by Josquin de Prez.

Three small dances arranged for viola and bassoon

Alfonsina y el mar (Zamba- Argentina) by Felix Luna & Ariel Ramirez

Luna Liberiana (Bolero-Costa Rica) by Jesus Bonilla
El Velorio (Contradanza-Cuba) by Ignacio Cervantes

The first bassoon plays the original etudes and the second bassoon plays an accompaniment part.
Includes Ludwig Milde's Concert Etudes Op 26 No. 4 (Allegretto), No. 9 (Adagio), No. 25 (Presto), and No. 34 (Polonaise).

Equally challenging parts for all four bassoons, the line of the original etude has been split throughout all four parts.
Includes Ludwig Milde's Concert Etudes Op 26 No. 4 (Allegretto), No. 9 (Adagio), No. 25 (Presto), and No. 34 (Polonaise).