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For bassoon or viola (if unavailable) piano, violin, cello and percussion Year: 2013 Duration: 6'15 min Commissioned by: Prize Salvador Seguí – Montserrat International Chamber Music Week (Spain) Published by: Musicvall Premiere: Fernando Pascual (violin), Isabel López (viola) Pere Joan Carrascosa (cello), Francesc Gamón (harpsichord) Bruno Zandalinas (percussion) 23/08/2014 III Festival de Música d’Ares del Maestrat. Original Scoring, Quinteto Cuesta, 22/07/2025 Setmana Internacional de Música de Cambra, Montserrat, València. Premio Internacional de Música de Cámara Salvador Seguí 2013. La presente obra es un homenaje a Ramón Ramos -uno de los compositores valencianos más brillantes de los últimos tiempos-. Inspirada en una composición de Ramos (Ricercare), Ramos-Care se construye a partir de la transformación tímbrica, armónica y rítmica de la Célula Bach y de los temas (sujetos) de la Ofrenda Musical y del Arte de la Fuga de J.S.Bach. A través del desarrollo de estos temas y motivo, obtenemos como resultado nuevos materiales que están permanentemente en conflicto para conseguir la dominación del discurso sonoro. La macro estructura general, responde a la de un Ricercare. Las melodias simbolizan el recuerdo, el estado lúcido de una persona, la integridad. Los acordes percusivos, las disonancias y las alteraciones tímbricas, simbolizan la decadencia, la desesperación, la enfermedad… La mejor prueba de esta evocación es la utilización de una caja de música, la cual representa el ser humano y la memoria viva, pero también, el olvido y la devastación total. Published by  Musicvall : https://www.musicvall.com/producto/ramos-care/

Trumpet Year: 2018 Duration: 9 min Premiere: Jonathan Pia, 07/09/2018. Moncalvo, Divertimento Ensemble IWYC. Silenzio di metallo triste e sonoro is the third composition in a series of works inspired by and created from the texts of the poet Miguel Hernández. The core idea and pre-compositional materials for this piece come from the poetry collection El rayo que no cesa (1936). The soundscape is generated by developing the main gestural motif and other secondary ones, which form a series of textures, opposing elements, and instrumental situations. These are all analogous to the literary devices found in the poems. The work also has a certain degree of poeticism and theatricality, reflected in the treatment and use of the mute (the "sword") and silence, which serves as a structural, dramatic, and expressive gesture. Ultimately, this piece is an instrumental sound expression that originates from a vocal one, drawing from all the underlying sonorities of the original text. Sheet music of Silenzio di Metallo triste e sonoro

String Quartet Year: 2025 Duration: 15 min Commissioned by: Fabrik Quartet & IVC Premiere: Fabrik Quartet, 11/12/2025 Instituto Cervantes, Paris. Fang. Cover of the musical score FANG by José Luis Escrivà Sheet music of Fang by José Luis Escrivà Photos of the Premiere :  Fabrik Quartet, 11/12/2025 Instituto Cervantes, Paris.

Violin and harpsichord Year: 2021 Duration: 9 min Commissioned by: Concurso Internacional de Música de Cámara de Arnuero Premiere: Fernando Pasccual and Adrià Gràcia, 03/07/2021 Concurso Internacional de Música de Cámara de Arnuero , Cantabria This work is inspired by the ancient caves of Cantabria, which contain the treasures of rock art from the Spanish Cantabrian coast. It reveals itself as an act of sympathetic magic, symbolically representing different musical characters. These characters are expressed through musical quotes that suggest anthropomorphic representations, lines, and dots, which unfold through subtle processes of acceleration and timbral treatment. In this way, we travel through time, offering a ritual and a tribute to our musical ancestors and to our most current references. Photos of the Premiere of Magia simpática :   Fernando Pasccual and Adrià Gràcia, 03/07/2021 Concurso Internacional de Música de Cámara de Arnuero , Cantabria. Fernando Pascual (Violin) & Adrià Gràcia (harpsichord)

String Quartet Year: 2023 Duration: 16 min Commissioned by: Festival Ensems & Ernst Von Siemens Music Foundation Premiere: Fabrik Quartet, 26/03/2023 Naxos Hallenkonzerte, Frankfurt. Més enllà de la quarta dimensió, is a string quartet written under the influence of two phenomena: time dilation and the unconscious. Reflecting on both concepts, we find various points of connection, as well as opposition, with the act of musical composition. This is especially true regarding the notion of the instant, the relentless passage of time toward the future, but also in what lies beneath—the hidden, the echoes of the past that remain within us, and the interaction between the conscious and the unconscious. Throughout, the musical discourse unfolds through various acceleration processes that traverse different temporal dimensions, both fleeting and everlasting, taking us on a journey through time and inviting us to delve into diverse timbral dimensions—both real and imaginary—as well as semiotic ones. Més enllà de la quarta dimensió | Fabrik Quartet | Composed by José Luis Escrivà | Youtube Sheet music of Més enllà de la quarta dimensió by José Luis Escrivà Photos of the Premiere :  Fabrik Quartet & José Luis Escrivà, 26/03/2023 Naxos Hallenkonzerte, Frankfurt.

For Saxophone Ensemble (Sax. S, Sax. B, Sax. A 1, 2, 3, 4) Year: 2016 Duration: CA. 8,5 min Commissioned by: ARIAM et du CRC de Persan for its Saxophone Ensemble Premiere: CCRC of Persan Saxophone Ensemble. 24/05/2016 Persan. The piece, "La métamorphose du son," is based on two poems by two of the most celebrated writers in the French language: "Les voyelles" (Arthur Rimbaud) and "La métamorphose du vampire" (Charles Baudelaire). These poems serve as the primary source of inspiration and metaphor for the composition. The goal is to connect the text with the music from a personal perspective, in line with contemporary aesthetics: various playing techniques, sound spatialization, harmonic systems, and movement. The organization and structure of the sound material (formal, temporal, and spatial) are a direct response to Rimbaud's "Les voyelles." In this poem, Rimbaud uses synesthesia to create an analogy between colors, letters, words, sounds, and meaning. The composition aims to develop this very idea through its sonic narrative. Sheet music of La métamorphose du son

Wind orchestra Year: 2019 Duration: 15 min Commissioned by: Festival Ensems Premiere: Banda Municipal de València. 14/04/2019 València, Palau de la Música. Back in 1920, Joan Salvat-Papasseit concluded his famous text, Contra els poetes amb minúscula (Against the poets with a lowercase 'p'), with the following words: English translation: "I invite you, poets, to be future, that is, immortal. To sing today as if it were today. That you do not measure your verses, nor count them on your fingers, nor charge money for them. We live always anew. Tomorrow is always more beautiful than the past. And if you want to rhyme, you may rhyme: but be Poets, Poets with a capital 'P': proud, brave, heroic and above all, sincere." Original: “jo us invito, poetes, a que sigueu futurs, és a dir, immortals. A que canteu avui com el dia d'avui. Que no mideu els versos, ni els compteu amb els dits, ni els cobreu amb diners. Vivim sempre de nou. El demà és més bell sempre que el passat. I si voleu rimar, podeu rimar: però sigueu Poetes, Poetes amb majúscula: altius, valents, heroics i sobretot sincers.” This quote perfectly captures the approach and conceptualization of this work. The piece champions the music "of today" within the band genre by developing the concepts of space-time and the sound-figure. These two concepts merge into one, becoming both semantics and morphology. The work's structure is built on the idea of linear time—divided into past, present, and and future—but it uses a perpetual, spiraling form that fluctuates between these different temporal dimensions. This is achieved through the treatment and transformation of the sound-figure within the space-time continuum. The foundational idea and pre-compositional materials for this piece come from Joan Salvat-Papasseit's text, El poema de la rosa als llavis (The Poem of the Rose on the Lips). Ultimately, this is an instrumental sound expression that is born from a vocal one. Photo of the Premiere :  Banda Municipal de València. 14/04/2019 València, Palau de la Música. Banda Municipal de València. 14/04/2019 València, Palau de la Música.

Piccolo and electronics Year: 2022 Duration: 10 min Commissioned by: Paco Varoch & Institut Valencià de Cultura Premiere: Paco Varoch , 22/10/2022 Rafel Festival , Valencia Record d’una letargia is born after a long period of reflection and personal introspection, driven by the need to reconnect with the creative “self.” A “self” that, while not turning its back on the globalized world — including the artistic realm, where we are all influenced by the collective — has attempted to recover its most genuine and singular essence from the early stages of the creative journey. Thus, this piece carries a strong psychological component. It stems from duality, from the relationship and interaction between the conscious and the unconscious, creating a sonic discourse that conceptually blends the rational with the illogical, the comic with the serious, reality with imagination. All of this is achieved through meticulous and precise work on timbre, electronics, and the use of seemingly comical instruments such as the water whistle, the slide whistle, and the flexatone.. Sheet music of Record d’una letargia Photos of the Premiere :   Paco Varoch , 22/10/2022 Rafel Festival , Valencia .

For ensemble and soprano saxophone soloist (Fl, B. Clar. Perc. Pno. S. Sax. Vl. Vla. Vlc) Year: 2018 Duration: 13 min Commissioned by: Antonio García Jorge Premiere: Grupo Enigma . 09/04/2018 Auditorio de Zaragoza . Hielo Negro is the second composition in a series of works inspired by and created from the poems of Miguel Hernández. This sonic elegy is based on the premise that verse is a language and language is music, and therefore, the combination of words and phonemes contains a high degree of musicality. The foundational idea and pre-compositional materials for this piece come from the poem "Nanas de la cebolla" ("Lullabies of the Onion"), published in the collection Cancionero y Romancero de Ausencias ("Songbook and Ballad-book of Absences"), which Hernández wrote largely while he was a prisoner and a victim of Francoist repression. The soundscape of Hielo Negro is generated through contrasting elements and instrumental situations that are based on the main metaphors of the poem. These are analogous to the poem’s structure, semantics, rhyme, meter, rhythms, literary devices, cadences, and phonemes. Ultimately, this piece presents an instrumental sound expression that originates from a vocal one and from all the sonorities that underlie the text itself. Photo of the Premiere :   Grupo Enigma . 09/04/2018 Auditorio de Zaragoza . Grupo Enigma . 09/04/2018 Auditorio de Zaragoza.

Violin, cello and piano Year: 2020 Duration: 9 min Premiere: Solist of Ensemble 2e2m. 09/10/2020 Gennevilliers, Auditorium Conservatoire Edgard Varèse. Photo of the Premiere :   Solist of Ensemble 2e2m. Gennevilliers, Auditorium Conservatoire Edgard Varèse. Solites 2e2m | Gennevilliers, Auditorium Conservatoire Edgard Varèse | 09/10/2020

For ensemble (Fl, B. Clar. Hp. Pno. Vlc) Year: 2019 Duration: 6 min Premiere: Ensemble Multilatérale. 29/05/2019 Gennevilliers, Auditorium Conservatoire Edgard Varèse. Photo of Ensemble Multilatérale  Ensemble Multilatérale

For ensemble (Fl, B. Clar and Clar Bb. Perc. Pno. Vl. Vlc) Year: 2017 Duration: 7'30 min Commissioned by:  Classe de composition de José Manuel López López au CRD de Gennevilliers. Premiere: Ensemble Multilatérale. 30/06/2017 Auditorium du Conservatoire de Gennevilliers. […] Un manotazo duro, un golpe helado, un hachazo invisible y homicida, un empujón brutal te ha derribado. No hay extensión más grande que mi herida, lloro mi desventura y sus conjuntos y siento más tu muerte que mi vida. Ando sobre rastrojos de difuntos, y sin calor de nadie y sin consuelo voy de mi corazón a mis asuntos. […] Los versos citados anteriormente forman parte de la Elegía que Miguel Hernández escribió y dedicó a su amigo Ramón Sijé, muerto prematuramente en diciembre de 1935. Este magnífico poema se publicó en 1936 en el poemario El rayo que no cesa , libro con el que Hernández empezó a ganar fama como poeta. Después de la lectura de esta maravillosa obra nació en mí el deseo de escribir una elegía dedicada a uno de los grandes poetas que la barbarie franquista nos arrebató “como del rayo”, rápida y brutalmente. Esta elegía sónica, titulada Rayo soy , parte de la premisa de que el verso es lengua y la lengua música, y por tanto, la combinación de palabras contiene un alto grado de musicalidad. De este modo, la idea germinal y los materiales pre-compositivos surgen del poema número 20 publicado en El rayo que no cesa : No me conformo, no: me desespero como si fuera un huracán de lava en el presidio de una almendra esclava o en el penal colgante de un jilguero. Besarte fue besar un avispero que me clava al tormento y me desclava y cava un hoyo fúnebre y lo cava dentro del corazón donde me muero. No me conformo, no: ya es tanto y tanto idolatrar la imagen de tu beso y perseguir el curso de tu aroma. Un enterrado vivo por el llanto, una revolución dentro de un hueso, un rayo soy sujeto a una redoma. En consecuencia, el discurso sonoro se genera a través de situaciones instrumentales análogas a la estructura, la semántica, la rima, la métrica, los ritmos, las cadencias y los fonemas del poema. En definitiva se presenta una expresión sonora instrumental que parte de otra vocal y de todas las sonoridades que subyacen al propio texto. Sheet music of Rayo Soy by José Luis Escrivà Sheet music of Rayo Soy by José Luis Escrivà