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Dedicated to Kael Zollner, whose untimely passing in 2019 deeply affected me. To honor his memory, I embarked on a symphonic composition for my master's degree. Recalling his interest in learning piano, I decided to create a piano concerto. Additionally, I remembered seeing him engrossed in "20 Love Poems and a Song of Despair" by Pablo Neruda, leading me to draw inspiration from four poems in the book: numbers 4, 9, 15, and 14.

During my years of meditation practice, the predominant sensation I experience is "drifting." As I relax, my mind starts to wander. It's a realm of fragments – fleeting images, thoughts, and sounds passing through my consciousness. Everything remains in a state of blur, but occasionally, a clear image emerges, revealing a plethora of scenes: people, landscapes, animals, and more. At times, I hear a voice speaking to me, and on rare occasions, it's as though I briefly tune into a radio station, catching snippets of music.

Alchimia is a composition dedicated to my dear friends Paloma Báscones and Harold Schofield, exploring the theme of the five ancient elements: air, fire, water, earth, and quintessence. It's divided into five hymns, each representing one of these elements, and each is preceded by a recitation of a text related to the theme. These hymns combine words and phrases from ancient texts in 15 different languages, including Ancient Greek, Latin, Ancient Egyptian, Sanskrit, Sumerian, Chinese, Japanese, Hawaiian, Navajo, Cherokee, Nahuatl, Quechua, Spanish, German, and English.

Composed in 2013, "KOCMOC" (Cosmos) is a significant piece dedicated to the memory of Vladislav Uspensky, a distinguished Russian composer and former student of Arapov and Shostakovich, with whom I had the privilege of studying in 1997-1998. The title is derived from the Russian word "cosmos," written as "kocmoc" in Cyrillic. This composition is an evolution of an earlier work of the same name, originally created under Professor Uspensky's guidance in 1997, utilizing the same musical materials, structure, and source of inspiration.

When Dr. Katrin Meidell and Dr. Elizabeth Crawford invited me to compose a piece for their duo, Violet, the idea of drawing inspiration from Nathaniel Hawthorne's version of the Greek story of Pandora's Box immediately appealed to me. The story features two characters, Pandora and Epimetheus, and I found a parallel in the viola, which, like a box, can produce a diverse range of sounds, including some quite eerie ones.

Commissioned by Peruvian flutist Daniel Cueto and Romanian guitarist Mircea Gogoncea, "Il giardino della casa" was created for their program at the second edition of the Encounters of Peruvian Musicians, hosted by the Philharmonic Society of Lima. The composition consists of three movements, each inspired by photographs captured by my father in our home garden.

Drawing from the rich traditions of Peru's coastal dances, "Peruvian Fanfare" blends elements of the elegant and stylized courtship dance, Marinera, with the vibrant African-inspired Festejo. These two distinct styles come together, enriched by my own musical ideas. While the Marinera is a graceful solo dance that symbolizes courtship, the Festejo, rooted in African heritage, is a lively group dance typically performed by multiple couples.