Aurelio de la Vega

Orchestra • Obertura a Una Farsa Seria ("Overture to a Serious Farce") (1950) • Introducción y Episodio ("Introduction and Episode") (1952) – commissioned by Frieder Weissmann • Elegía ("Elegy"), for string orchestra (1954) • Divertimento for Piano, Violin, Cello and String Orchestra (1956) • Symphony in Four Parts (1960) – commissioned by Inocente Palacios for the Third Inter-American Music Festival • Intrata (1972) – commissioned by Zubin Mehta and the Los Angeles Philharmonic Orchestra • Adiós (“Farewell”) (1977) – commissioned by Zubin Mehta and the Los Angeles Philharmonic Orchestra • Variación del Recuerdo ("Variation of the Remembrance"), for string orchestra (1999) – commissioned by the Culver City Chamber Orchestra Chamber: instrumental • La Muerte de Pan ("The Death of Pan"), for violin and piano (1948) – commissioned by Carlos Agostini • Trio for Violin, Cello and Piano (1949) – commissioned by the Sociedad de Conciertos, La Habana • Soliloquio ("Soliloquy"), for viola and piano (1950) – commissioned by Alberto Fajardo • Leyenda del Ariel Criollo ("Legend of the Creole Ariel"), for cello and piano (1953) – commissioned by cellist Adolfo Odnoposoff and pianist Berthe Huberman • String Quartet in Five Movements, "In Memoriam Alban Berg" (1957) – Havana Lyceum Publication Prize, Igor Markevitch, Presiding Juror • Woodwind Quintet (1959) • Trio for Flute, Oboe and Clarinet (1960) • Structures, for piano and string quartet (1962) – commissioned by the Coolidge Foundation, The Library of Congress • Segmentos ("Segments"), for violin and piano (1964) – commissioned by Robert Gross • Exametron, for flute, cello and four percussionists (1965) • Exospheres, for oboe and piano (1966) – commissioned by oboist John Ellis • Labdanum, for flute, vibraphone and viola (1970) – commissioned by Peter Morelenbaum • Septicilium, for solo clarinet and small instrumental ensemble (flute, harp, piano-celesta, one percussionist, violin and cello) (1974) – commissioned by the 1973 Festival of New Music, University of California, Los Angeles • Olep ed Arudamot, for any number of instruments and/or voices (1974) – commissioned by Gloria Morris • The Infinite Square, for any number of instruments and/or voices (1975) – commissioned by Gloria Morris • Andamar-Ramadna, for any number of instruments and/or voices (1975) – commissioned by Gloria Morris • The Magic Labyrinth, for any number of instruments and/or voices (1975) – commissioned by Gloria Morris • Astralis, for any number of instruments and/or voices (1977) – commissioned by Francisco Lequerica • Nones, for any number of instruments and/or voices (1977) – commissioned by Francisco Lequerica • Corde, for any number of instruments and/or voices (1977) – commissioned by Francisco Lequerica • Galandiacoa, for clarinet and guitar (1982) – commissioned by Julian Spear • Tropimapal, for nine instruments (flute, clarinet, bassoon, trombone, one percussionist, violin, viola, cello and double bass) (1983) – commissioned by the Los Angeles American Chamber Symphony Chamber: vocal • Fuente Infinita ("The Infinite Fountain"), song cycle for soprano and piano on poems by José Francisco Zamora (1944) – commissioned by Magda Medina • El Encuentro ("The Encounter"), for contralto and piano, on a poem by Rabindranath Tagore (1950) • Cantata for Two Sopranos, Contralto and Twenty One Instruments, on poems by Roberto Fernández Retamar (1958) • Inflorescencia ("Inflorescence"), for soprano, bass clarinet and pre-recorded sounds, on a poem by Aurelio de la Vega (1976) • Adramante, for soprano and piano, on a poem by Octavio Armand (1985) – commissioned by the University of California, Santa Barbara, in honor of composer Ernest Krenek • Asonante ("Assonant"), for soprano, dancer(s), seven instruments (flute, trumpet, trombone, piano, violin, cello and double bass) and pre-recorded sounds, on a poem by Aurelio de la Vega (1985) – commissioned by Franco Saltieri • Magias e Invenciones ("Magics and Inventions"), song cycle for soprano and piano on poems by Gastón Baquero (1986) – commissioned by Fundación Música, Zaragoza, Spain • Andamar-Ramadna (Version II), for any number of instruments and/or voices (1988) – commissioned by Gloria Morris • Testimonial, for female voice, flute, clarinet, piano, violin and cello, on poems by Armando Valladares (1990) – commissioned by the Buenos Aires Encounters of Contemporary Music • Madrigales de Entonces ("Madrigals from Another Time"), for SATB a cappella choir, on poems by Heberto Padilla (1991) • Canciones Transparentes ("Transparent Songs"), for soprano, clarinet, cello and piano, on poems by José Martí (1995) – commissioned by Florida International University, Miami • Variación del Recuerdo, Versión II ("Variation of the Remembrance", Version II), on a poem by Aurelio de la Vega, for six voices, clarinet and two percussionists (2005) – commissioned by the Moldenhauer * Foundation, The Library of Congress • Recordatio ("Recollection"), for soprano, wind quintet and string quintet, on a poem by Emilio Ballagas (2011) – commissioned by North/South Consonance Piano • Tres Preludios (Three Preludes) (1944) • Rondó (1948) • Epigrama ("Epigram") (1953) • Danza Lenta ("Slow Dance") (1956) • Minuet (1957) • Toccata (1957) • Antinomies (1967) – commissioned by Peter Hewitt • Homenagem ("Homage"),"In Memoriam Heitor Villa-Lobos" (1987) – commissioned by José Eduardo Martins Guitar • Sound Clouds (1975) • Bifloreo (1992) – commissioned by guitarist Anton Machleder Solo Instruments • Interpolation, for solo clarinet with or without pre-recorded sounds (1965) – commissioned by clarinetist John Neufeld • Undici Colori ("Eleven Colors"), for solo bassoon with or without projected transparencies of mixed media colored drawings by the composer (1981) – commissioned by the Klimt Foundation for bassoonist Donald Christlieb • Memorial de la Ausencia ("Memorial of the Absence"), for unaccompanied cello (1985) – commissioned by Petroso Novares Solo Instruments with pre-recorded sounds • Interpolation, for solo clarinet with or without pre-recorded sounds (1965) – commissioned by Howard Pineridge • Tangents, for violin and pre-recorded sounds (1973) – commissioned by Endré Granat • Para-Tangents, for trumpet and pre-recorded sounds (1973) – commissioned by Thomas Stevens Electronic music (solo tape only) • Vectors, monaural tape (1963) • Extrapolation, stereophonic tape (1981) – commissioned by the University of California, Los Angeles, and the Los Angeles Philharmonic Orchestra for the Los Angeles Music of the 80s Festival