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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 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.

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.

Kinesis II for flute and piano has been dedicated to María Victoria Gómez, who premiered it with the author on the piano. It was finished on Agust 10, 1987, and is written in an atonal language with permanent metrical changes. It begins with a dizzying section in which the flute and the piano are engaged in a lively dialogue with wiggly melodies which include, according to the expressive needs, arpeggios alternating just and augmented fourths or minor thirds and seconds. Now and then a minor chord with major seventh or its inversion punctuates the musical discourse. After a flute solo, a much slower second section arises in which the piano assumes an accompanying function, although in two passages it acquires prominence through contrapuntal procedures. In the third section an introspective flute comes back with a self-dialogue between the high and low registers. The work concludes with a symmetrical dissonant accord in which the lowest C of the flute occupies the exact center.

The Fantasy for flute and piano was finished on March 31, 2007, and is dedicated to María Victoria Gómez and Alicia Correas, who premiered it the same year. The language is predominantly tonal, but certain passages use arpeggios with several just and augmented fourths, a characteristic technique in other works by the author. The work begins with a brief introduction followed by a piano ostinato which acompanies a very slow tetrachord in the low register of the flute, which will be used later as a motivic resource by diminution to different degrees. An episode with iridescent harmonies leads to a piano interlude featuring the arpeggios mentioned earlier and then a third theme is presented in which a chord counterpoint is pucntuated by several augmented arpeggios on both instruments. A new series of arpeggios of fourths, interrupted by a brief bucolic interlude, takes us back to the third theme and finally to the initial ostinato, which this time fades into one last arpeggio interlude. Then a lyric passage leads to a brief recapitulation. Although for a moment it seems that the work will be ending with a luminous G major harmony, the discourse is dramatically interrupted by a dark atonal coda.

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.

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.

This work was composed from 29 June 1985 and 04 August 1985. It begins with a long clarinet solo which gradually presents the main theme. Then enters the piano with a variant with parallel chords. Then enters the violin with a figured variant. From then on tension is continuously increasing until a fugato begins, featuring increasingly close strettos leading, through a tumultuous transition, to a new clarinet solo which leads to a very expressive slow intermezzo with three symmetrical phrases. A short interlude reminscent of the fugato seems to break the calm climate but it is suddenly diluted in a duet between the clarinet and the violin. This leads to the clarinet solo of the beginning, exposed this time by the violin accompanied by piano or clarinet on occasions, and alone in the last phrase. Finally the clarinet in the lowest part, the violin in the highest part and the piano in the center, closes the piece with deep austerity..

The Clarinet sonata was composed from August 25 to September 5, 2005 and comprises two movements. The first one is a fantasy built on a melodic motif with a descending minor second and an ascending major second that is presented as a sort of ostinato in many different rhythmic variants. It is disturbed by frequent digressive episodes that arise from the elaboration of a diminished fifth interval. The second movement has a sonata-form structure whose first theme is meant, both during the exposition and the development, to create a polyphonic illusion. To this aim there is a systematic use of zigzag melodies as well as a resort to timbrical contrasts between the different registers of the instrument. The development presents two sections, each one preceded by an episode in which the virtual polyphony becomes contrapuntal as the ostinato motif of the first movement is revisited and opposed to two ideas, one of them taken from the second theme. The reexposition is brief and comprises a variation of each main theme. The coda exhibits a fading but not relaxed character until the last measure, where a final energy blast growls in the bass.

Cognosis has been composed starting from a MIDI and audio recording of an improvisation on an electronic piano Casio Privia 200. This version has been played at 1/2 the original tempo with a slowly time-varyng resampling and a melody synthetically generated from a brownian process using mathematical software. A variable timbre has been used starting from a synthetic sound ressembling a string pizzicato. This melody has been processed using SPEAR, a sinusoidal modelling program used to edit the spectrum through transformations like inversions, filtering "clouds", spectrum shifting, removal of spectral components above a threshold, etc.