1. Musique d'entrainement et de repos de "José Torres" 2. Musique funèbre de "Black rain" 3. Valse de "Face of another" Orchestre symphonique de Bournemouth Direction : Marin Alsop - 2005

1. I have called unto Thee, o Lord 2. Stikhira on "I have called unto Thee, O Lord" 3. Stikhira on "Litanies for the entry into the church of the Holy Virgin" 4. The Lord our God 5. The Lord our God 6. Irmos 7. Prochimenon "Rise up, o Lord my God"

The Piano Sonata No. 6 was composed between April 16, 1986 and January 1, 1995, and it is dedicated to Alicia Correas, a pianist from Rosario, Argentina, who premiered it in 2000. The first movement starts with a theme based on a melodic motif with a minor second and a minor third that appears in different arrangements and rhythmic variants. After a brief development, a second, slower and singing theme arises, in which several elements intertwine in a counterpoint that grows in density until the reappearance of the first theme in counterpoint with the second one. The tempo is increased leading to a fugue that combines all the themes in original and varied versions. In the recapitulation a shorter version of the first subject leads to a new version of the second theme and a short coda. The second movement begins with a kind of unaccompanied recitative whose last note is repeated and punctuated by several chords with major sevenths in a symmetrical structure around that note. A second theme is suddenly presented as a vertiginous accelerando, and later on combined with its own inversion and the first theme. Again we have a single note punctuated by chords, which leads to an ample development and the appearance of a new theme with great tonal instability, first in the bass and later in the treble, with an expanded version of the second theme. Here a counterpoint procedure is used in which the same theme is presented in its original, retrograde, reversed and retrograde reversed versions in triplets. The third movement begins as a rondo-sonata, but after the second theme is presented it begins to mutate with the initial theme of the first movement revisited. After a last appearance of the theme of the rondo, the initial theme, combined in counterpoint with the second extended theme of the Andante, dominates once more. The sonata ends with a succession of chords and a final cataract of sounds.