In Aquenios, that empty fruit where the seed floats dryly, the quartet takes different strategies of sound generation from parameterized physical instructions. The materiality of the reed is in the same hierarchy of action as the air column and the fingering. It is from a chaotic emergence, the result of multiple gestural and chamber interactions that are not entirely controllable, that a subtle yet dense weft emerges, like a floating moss. Where the listener can sink and not be exhausted. Just as when we observe the achenes flying carried by the dandelions or hiding among the folded microtextures of the strawberries
research
A very detailed analysis of this piece can be found in Pablo Araya’s dissertation “Una correspondencia metafórico-analógica conceptual entre ciencia y música” in the context of other works by composers Julio Estrada and Samuel Cedillo:
https://rdu.unc.edu.ar/handle/11086/15729?show=full
prizes
Aquenios won the Composition National Prize Juan Carlos Paz 2017 for the instrumental piece category.