$ Sheet Music
Edited
EN TRES
for flute solo (1997)
Publicated (2006) Pizzicato Verlag Helevetia
EN TRES, experimental work, which plays an almost ironic in a mystical and sensual instrument. Almost sounds extreme, where the instrument is divided and operated soundly through the three parts separately and are slowly coming together, until at last the instrument comes armed in his classic version.
Winner of First Prize unanimously in the International Women Composers of Venice, in 2004.
Winner of First Prize unanimously in the International Women Composers of Venice, in 2004.
SUITE INSULAR
for piano solo (1992 - 2009)
Publicated (2011) | Periferia Music and Tutto Musik
Is composed of 5 characteristic pieces that evoke the island of La Juventud, where the author spent her first years of life. These pieces are brief compositions inspired in the cuban pianism from the XIXth century, from which Carvajal makes an inspired re-reading. The work is a dialogue among musical present and past, but the last one suffers a re-interpretation.
RESONANCIAS
for clarinet and tape (2ooo)
for bass clarinet and tape (2oo1)
Publicated (2008) | Periferia Music and Tutto Musik
Was commisioned for the Center of Arts Reina Sofia of Madrid (LIEM - CDMC) in 1999 and the première was in charge of the clarinetist R. Heaton in the VII computing and musical electronics conference of the Centre for the contemporary music broadcasting of Madrid in the 2000's edition and performed afterwards in bass clarinet version in Barcelona and Ireland by the clarinetist H. Sparnaay and in Italy by Davide Bandieri, Marco Ignoti and Simone Simonelli.
This work finds its inspiration at the poem Lutum, by the cuban poet Dulce María Loynaz (Cervantes award of literature in 1992). It is characterized by the contrast and difference of sonorous gestures between the clarinet and the tape, findind on the poetic content the settlement and dialogue between two instruments. The tape recreates and reproduces phonemes, vowels, consonants and words that, through an spectral analysis, alowed me to stablish an harmonious field for the melodic and harmonic sequences of the clarinet.
This work finds its inspiration at the poem Lutum, by the cuban poet Dulce María Loynaz (Cervantes award of literature in 1992). It is characterized by the contrast and difference of sonorous gestures between the clarinet and the tape, findind on the poetic content the settlement and dialogue between two instruments. The tape recreates and reproduces phonemes, vowels, consonants and words that, through an spectral analysis, alowed me to stablish an harmonious field for the melodic and harmonic sequences of the clarinet.
EON
for clarinet Mib and tape (2009)
Publicated (2009) | Periferia Music and Tutto Musik
Is a work extrovert, noisy, almost aggressive, inspired by a Dulce Maria Loynaz phrase, "Who could like the river, a fugitive and eternal. Represents a "postcard" of sounds and noises of the city of Havana, where there is no apparent silence, but on the contrary, live sound and sound in great democracy. This work is characterized by the juxtaposition and coexistence of different sound elements. The electronic specific sounds reworked various means of transportation, a pedal-known rumba ostinato of "Havana" and the concept of the infinite flow of time, personified by the water. Instead the clarinet, is presented as discrete character, melodic, subordinate, almost lyrical, to seize a leading space, rhythmic gestures nervous and agitated, in the chaotic final rumba.
SUITE CARIBEANA
for clarinet Mib and piano (2010)
Publicated (2010) | Periferia Music and Tutto Musik
Text by Iliana Ross (musicologist)
Contains a selection of two contradanzas of Manuel Saumell Robredo (Havana, Cuba 1817-1870) and three dances of Ignacio Cervantes (Havana, Cuba 1847-1905), arranged for piano and clarinet, by composer Ailem Carvajal Gomez (Havana, Cuba 1972). The piano music Saumell and Cervantes has a long tradition in the training of musicians in Cuba, in part, for the enjoyment of their performances and works mainly for being exposed for the first time in musical history of the island, identity values Cubans. Composers were able to join in their dances and contradanzas, the most significant features of the language of the nineteenth century European music, with the rhythm of Cuban popular music.
They are usually short and intense pieces, which are divided into two contrasting parts. Almost always the first part has an expressive character of harmonic richness and timbre, while the second section is more lively and rhythmic. The titles of the pieces take us back to colonial times in Cuba, where characters, customs and policies were characterized musically. The format of piano and clarinet can extend the lyrical sound of these pieces, rich in joints and phrases. These works offer performers the opportunity to develop their expressive technical skills, together with knowledge of Cuban music concert.
Contains a selection of two contradanzas of Manuel Saumell Robredo (Havana, Cuba 1817-1870) and three dances of Ignacio Cervantes (Havana, Cuba 1847-1905), arranged for piano and clarinet, by composer Ailem Carvajal Gomez (Havana, Cuba 1972). The piano music Saumell and Cervantes has a long tradition in the training of musicians in Cuba, in part, for the enjoyment of their performances and works mainly for being exposed for the first time in musical history of the island, identity values Cubans. Composers were able to join in their dances and contradanzas, the most significant features of the language of the nineteenth century European music, with the rhythm of Cuban popular music.
They are usually short and intense pieces, which are divided into two contrasting parts. Almost always the first part has an expressive character of harmonic richness and timbre, while the second section is more lively and rhythmic. The titles of the pieces take us back to colonial times in Cuba, where characters, customs and policies were characterized musically. The format of piano and clarinet can extend the lyrical sound of these pieces, rich in joints and phrases. These works offer performers the opportunity to develop their expressive technical skills, together with knowledge of Cuban music concert.
TOTUM REVOLUTUM
for string quartet (1994)
Publicated (2009) | Periferia Music and Tutto Musik
String quartet is strongly characterized by the influence of Cuban country music. It is a reinterpretation of "Guajira - are" genre rhythms that alternate three four six eight, lilting, catchy style and invite to dance. This string quartet, through a process of reworking, typical of the genre developed melodies in counterpoint, which fall as opposed to harmonic dissonance and contemporary sounds. Transported to the ropes, a certain loyalty to a remembrance instrumental sound of the guitar, the lute and the three instruments representative of the genre.
AIKU
for Contralto, Baritone & Mixed Choir (2008)
Publicated (2010) | Periferia Music and Tutto Musik
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