The Piano Sonata-Fantasy No.4 was completed on January 12, 1984, and it is dedicated to the deceased and wounded during the Malvinas Islands war in 1982. It expresses a musical criticism to war and its consequences. The first theme, based on a repeated motif followed by a chromatic answer, leads immediately to the second theme. After a short development, a third, episodic theme is presented. An ample development follows in which the main themes appear in lyric, contrapuntal or improvisatory versions. After the recapitulation a quasi cadenza takes place leading to the coda. The second movement is a funeral dirge dominated by iridescent harmonies. It begins with a marcial air in diminished mode ascending from the deep bass which is followed by an andean tune representing a young soldier from the Argentinean Northwest marching to death in an absurd war. After a more hectic central episode the first theme is revisted in a heroic mood. The movement ends with a mysteroius arpeggio displaying the twelve tones of the chromatic scale. The third movement is a rondo-sonata on a theme that recalls the first theme of the first movement. A second theme is presented and developed in a contrapuntal way. The marcial air of the second movement reappears in different mood, along with abbreviated versions of its final arpeggio. After a last occurence of the main theme, the work ends with several whole-tone scales and a chord with modal ambiguity.

The Piano Sonata No.5 was composed between August 22, 1984, and October 8, 1984, and shortly after it was dedicated to commemorate Union Carbide’s culpable accident at its insecticide plant in the Indian city of Bhopal on December 3, 1984, in which about 8000 people died almost immediately and many more were affected for years. It is written in a single movement with three themes presented in an overwhelming moto perpetuo. The first one begins with a four-note chromatic scale based on an anagram of Bach's name. The second one combines two broken chords of diminished fifth and augmented fifth. The last one is a rhythmic variant of the second one, contrasting in its construction with major chords used in timbral function over a pedal of alternating octaves in the bass. The first two themes undergo an extensive development which, after a brief interlude of a more lyrical character, leads to a fugato. Here both themes are continuously interwoven, presented in different isolated and combined variants, with inversions, retrogradations and stretti. After revisiting the third theme, a new lyric version of the first two leads to the recapitulation. The work ends with an overlap of both themes in a frantic waterfall that leads to an unresolved dissonant chord.

The Rapsodia para violín (o flauta) y piano (Rhapsody for violin or flute and piano) was composed from October 8, 1982, to January 23, 1984. Written in a post-romantic style, it can be played either on the violin or the flute, and possibly on the cello with some changes in tessitura. It begins with a brief heroic introduction on the piano which leads to a first lyrical theme in C minor presented by the violin (or flute). The ever modulating harmony, based on several seventh chords, unfolds on the piano as wavy arpeggios. Then follows a more dramatic development which, after a climax, gets back to the introduction, this time with the violin in canon stretto. A variation of the initial theme is presented now with an even more modulating development that leads to a second theme of american character interrupted by a broad martial theme. After a brief interlude, a new variation of the first theme in a gentle F major is presented which dissolves into a mysterious version of the introduction played by the violin and stripped of all its original opulence. The work ends with the reexposition of the first theme in canon between both instruments.