BXR3 was composed in 1985 and was first performed in Madrid the 26 of May of 1991. It belongs to the first period of works of the composer. The work belongs to a collection of compositions entitled generically as BXR. These were written as studies for different instrumental organics. In each of these studies I incorporated a new element, at that time, in the author’s language with the intention of testing it. Moreover, I was always pursuing seamless unit and maximum consistency of language. In BXR3, the gestural factor and the contemplative spirit that this short piece exudes, are built around a discourse that arises from the simple idea that the sound comes out of nowhere and rises dynamically reaching a climax in the lowest register of the piano. Then, it returns to the quiet oasis of silence. This creates space for a new commentary built on a constantly repeated note with a dynamic oscillation clothed with arabesques and arpeggios with more harmonic character. The sound in the grave area appears again out of nowhere, emerging and, suddenly, climax is interrupted by the ffff dynamic. This gives rise to a new review more generous in its internal development of new reactions and it walked the path back to the silence ending in this way the composition. Despite of its duration (which is slightly over 3 minutes), the internal time of the piece depends on the desired sound environment by the pianist, leaving it therefore unrestrained metric.
Listen an excerpt of the composition: