The Ocho pequeñas piezas para piano (Eight short piano pieces) were composed from February 8, 1984, to December 26, 1992, and were premiered by pianist Alicia Correas in 2016. The first one, Preludio (Prelude), characterized by the use of polychords, flows between scintillating, rough and neutral harmonies. The second one, Quintas (Fifths) explores harmonies based on the progression of fifths and their inversions. The third piece is a three-voice fugue which features a diminished mode scale. The fourth is reminiscent of an old train lost in some dream. It begins with a gentle melody with intended harmonic ambiguity hovering upon an obstinato. The train stops somewhere but starts again, moving into darker regions until it reaches its final destination: the abrupt awakening. A Sonatina follows, in which the first theme is rhythmic and features frequent metric changes and the second theme is lyrical and expressive. The short development is based on the second theme. The sixth piece is a moto perpetuo in which the melodic line creates iridescence with an ever-changing harmony. A brief piece titled Homenaje (Homage) follows, capturing the impressionistic atmosphere of Debussy. The final piece, Passacaglia, is a theme with five variations. The theme borrows a non-thematic harmonic sequence from each of the preceding pieces, creating a harmonic kaleidoscope that is then developed in the variations.

1. The Jazz Master 2. The Jazz Mistress 3. Eskimo shivers 4. All-of-a-Twist 5. Virginia Creeper 6. Jazzaristrix

1. Valse mystique 2. Dans un berceau féerique 3. La roue du moulin à eau Piano : Anna Stella Schic - 1997

I. Serial One II. Classic Static III. Serial Two IV. Allegro V. soli Deo gloria VI. Serial Three VII. die Septime VIII. Le Romance Polanaise IX. die None 10'54" Premiered by Dr. Norma Holmes Auchter (Eastman School of Music), 1979 Music available from the composer at andrew@gelt.net

The Tres pequeñas piezas para piano (Three short piano pieces) were composed in the brief time span from February 3 to 7, 1987. The first one, Fantasía, starts with a phrase that is repeated in crescendo with gradual refinement in ornamentation and counterpoint until a climax is reached. Then it dissolves in a reverse process to reach a coda in which the theme is presented in augmentation and accelerating opposed to a counter-motif in stretto. The piece is written with permanent time signature changes. The second piece, Ludio, consists in an ample and expressive atonal melody against an obstinato in the bass. The title gives autonomy to the suffix -ludio (-lude) that is part of words such as prelude or interlude. The third composition, Invención (Invention), is sort of a homage to Bach in a more contemporary style, where the subject and counter-subject imbricate and mutate using counterpoint resources. It ends with an offbeat chord that dissipates in a single blow the chromatism prevailing in the whole work.