Catalog

Opera

  • Un Roi sans soleil (A King Without Sun) (1974) – Libretto: Michel Rio
    For six soloists and chamber ensemble. Premiered at the Atelier Lyrique du Rhin.

  • Quelle heure peut-il être à Valparaíso ? (What Time Could It Be in Valparaíso?) (1974) – Libretto: Pierre Debauche
    For a vocal ensemble (2 women, 4 men), Latin American instrumentalists, a popular singer, and orchestra (trumpet, accordion, piano, double bass, percussion).

  • La Trace de tes mains (The Trace of Your Hands) (1980) – Libretto: C. Pöppelreiter, after Pablo Neruda
    For soprano, tenor, 14 singers, flute, horn, trombone, and three percussionists. Premiered at the Deutsche Staatsoper Berlin.

  • L’Anniversaire de l’Infante (The Infanta’s Birthday) (1986) – Libretto: Sergio Ortega & Sophie Geoffroy-Dechaume, after Oscar Wilde
    For soprano, narrator, children’s choir, flute, clarinet, trumpet, trombone, two percussionists, strings, archlute, and guitar.

  • Messidor (1988) – Libretto: Adamante, Gérard Destal & Sergio Ortega
    For 2 sopranos, tenor, baritone, bass, children’s and mixed choir, narrator, actors, and symphony orchestra.

  • Le Louis Perdu (The Lost Louis) (1989) – Libretto: Jacques Gaucheron
    For 2 sopranos, mezzo-soprano, baritone, mixed choir, child actress, actors, narrator, wind quintet, 4 saxophones, 2 violas, cello, double bass, and a wind-and-brass orchestra.

  • Les Contes de la Révolution à Aubervilliers (Tales of the Revolution in Aubervilliers) (1989) – Libretto: Francis Combes
    For 3 sopranos, mezzo-soprano, tenor, baritone, mixed choir, narrator, actors, and symphony orchestra.
    These three operas— Messidor, Le Louis Perdu and Les Contes de la Révolution—are brought together in the Trilogie Les Sans Culottes (The Les Sans-Culottes Trilogy), conceived in collaboration with Adamante and Gérard Destal.

  • Le Dernier Domineur (The Last Tamer) (1990) – Libretto and staging: Claire Monot
    For soprano, children’s and mixed choirs, wind band, percussion ensemble, and symphony orchestra.

  • Popol Vuh (1992) – Libretto: Gérard Destal
    For 10 soloists, choirs, large wind-and-percussion orchestra. Created for the 500th anniversary of Christopher Columbus’s voyage.

  • Fulgor y Muerte de Joaquín Murieta (Splendour and Death of Joaquín Murieta) – Libretto: Pablo Neruda
    1995 version: for 22 soloists, choirs, dancers, and chamber group (flute, piano, guitar, tiple, 2 percussionists).
    1998 version: for 22 soloists, choirs, dancers, and symphony orchestra.

  • Médée (Medea) by Seneca (chamber opera, commission).

  • Pedro Páramo (based on a text by Juan Rulfo), unfinished.

Pocket opera

  • Le Prince Heureux (The Happy Prince) (1990) Libretto: Sergio Ortega, after Oscar Wilde. For soprano, three percussionists, and contrabassoon. (Bernard Bachet’s Instruments de Résonance: marimba, bamboo, and bass drum).
  • L’Histoire du Jaguar (The Story of the Jaguar) (1990) Libretto: Sergio Ortega. For pianist-narrator or pianist and narrator.
  • Relato de un Náufrago (Tale of a Castaway) (1991) Libretto: Sergio Ortega, after Gabriel García Márquez. For narrator and seven saxophones (sopranino, soprano, alto, tenor, baritone, bass, and contrabass (or 7th baritone)).
  • Tacuabé (1992) Text: Eduardo Galeano. For violist-narrator or violist and narrator.
  • Le Crâne de Mozart Enfant (The Skull of Mozart as a Child) (1992) Text: Sergio Ortega. For soprano, baritone, children’s choir, quartet, and harpsichord.

Chamber music

  • Sonata, for solo cello (1960)
  • Danza, for solo double bass (1960)
  • Fronterizo (Borderland), for piano (1960)
  • Deux expressions (Two Expressions), for string quintet (2,1,2)
  • Vals peruano and Bossa Nova, for double bass and piano (1961)
  • Sexteto para piano y vientos (Sextet for Piano and Winds) (1963)
  • De la vida de cuartel (From Barracks Life), for double bass and piano (1963)
  • Cachimbo, for clarinet and string quartet (1963)
  • Suite para Marionetas (Suite for Marionettes), for solo harpsichord (1964)
  • Bajo un cielo cada vez más blanco (Under an Ever-Whiter Sky), for solo flute (1965)
  • Quinteto, for alto flute and 4 strings
    (1966)
  • Partita para otro tiempo (Partita for Another Time), for wind quintet (1968)
  • Umbrales (Thresholds), piezas para muñecos, for solo piano (1970)
  • Nocturno, for flute, viola, cello, and guitar
  • Consideraciones sobre la felicidad futura, (Reflections on Future Happiness) Partita for solo cello (1971)
  • Quiriván, Partita for solo cello (1979), Revision (1983)
  • Doloritas (Little Sorrows), for brass quintet (2 trumpets, horn, 2 trombones) (1980)
  • Acoso y Muerte de un hombre, (Harassment and Death of a Man) Seven movements for string quartet (1983)
  • Ayes y lamentos por Alejo Carpentier, (Sighs and Laments for Alejo Carpentier), for solo harpsichord (1983)
  • Autour d’Altdorfer (Around Altdorfer), for flute, clarinet, percussion, and string quartet
  • Wie ein lied (Like a Song), for organ (1984)
  • El Alfarero (The Potter), for organ (1984)
  • ….mi canto yoruba….. (…my song, Yoruba …) for solo flute (1985)
  • El Monte y el Río (The Mountain and the River), for violin, cello, and piano
  • Quelle étrange rumeur assombrit le lointain ? (What strange rumor darkens the distance?), for piano (1985)
  • Berceuse pour ne pas s’endormir II (Lullaby Not to Fall Asleep II), for flute, viola, cello, and guitar (1992)
    A second version exists for flute, viola, cello, and harp.
  • La lune chante à Pancheraccia (The Moon Sings in Pancheraccia), for solo flute (1993)
  • Sur le Brouillard et sur la Nuit (On the Fog and on the Night), for solo flute (1997)

Vocal chamber music with instruments

  • Primeras Noticias de mi Muerte (First News of My Death) (1961) Text: Marino Muñoz Lagos.
    For baritone, 2 violins, 2 violas, 2 cellos.
  • Soneto Punitivo para un editorialista mercenario (Punitive Sonnet for a Mercenary Editorialist) (1962) Text: Pablo Neruda.
    For baritone, flute, percussion, piano, and double bass.
  • Tres Cantos de la Comedia del viudo (Three Songs from The Comedy of the Widower) (1962) Text: Gil Vicente.
    – Vengo del Rosale (I Come from the Rosebush)
    – Quedaos ahí ! (Stay There!)
    – Estanse dos hermanas (Two Sisters Are Here)
    For voice and string orchestra.
  • Tres Árboles (Three Trees) (1962) Text: Gabriela Mistral.
    For soprano and string orchestra.
  • Madrigales Carnívoros I (Carnivorous Madrigals I)
    Cycle of Three Songs:
    – Buscad acero (Seek Steel) (1961) Text: Marcos Ana
    – Los mineros del carbón (The Coal Miners) (1963) Text: Sergio Ortega
    – El infante de Marina (The Sea Infante) (1965) Text: Sergio Ortega
    Voice and piano.
  • Maula (Maula) (1963) Text: Efraín Barquero.
    Cycle of Five Songs:
    – Engalanada (Adorned)
    – Trío (Trio)
    – Juegos (Games)
    – A dos razones (For Two Reasons)
    – Los dos soldados (The Two Soldiers)
    For high voice and piano.
  • El Guitarrón de Taguada (The Guitarrón of Taguada) (1963) Text: Andrés Sabella.
    Cycle of Four Songs:
    – El Mulato Taguada (The Mulatto Taguada)
    – El viejo Gallego Trueba (The Old Galician Trueba)
    – La cueca del Diablo (The Devil’s Cueca)
    – Yo no soy Negro, pero me alegro (I’m Not Black, but I’m Glad)
    For high voice and piano.
  • Responso por el Guerrillero muerto (Requiem for the Fallen Guerrilla) (1967) Text: Sergio Ortega.
    For soprano and two percussionists.
  • Chacabuco (Chacabuco) (1978) (No text).
    For choir and flute.
  • Los Negros Presagios (The Dark Omens) (1979) Text: Pablo Neruda.
    For 2 sopranos, mezzo-soprano, and piano.
  • Falta el Rey (The King Is Missing) Text: P. Neruda.
    Cycle of Three Songs:
    – Creciendo a la sombra de sauces flexibles (Growing in the Shade of Supple Willows) (1979)
    – Falta el Rey (The King Is Missing) (1980)
    – Me peina el viento los cabellos (The Wind Combs My Hair) (1978)
    For voice and piano.
  • Los Cantos del Capitán (The Captain’s Songs) (1982) Text: Pablo Neruda.
    For soprano and piano.
  • La Vasija de Barro (The Clay Pot) (1986) Rewriting of an old traditional Ecuadorian song.
    For soprano, mezzo-soprano, flute, clarinet, piano, 2 percussionists, and string quintet (1-1-1-1-1).
  • Santiago penando estás (Santiago, You Are Suffering) (1987) Rewriting of a song by Violeta Parra.
    For soprano, flute, zampoña (pan flute), percussion, theorbo, and double bass.
  • Berceuse pour ne pas s’endormir I (Lullaby Not to Fall Asleep I) (1988) Text: Francis Combes and Sergio Ortega.
    For soprano, tenor, and instrumental ensemble.
  • Tan chiquitito y tan pobre (So Little and So Poor) (1992) Text: Jaime Silva.
    For children’s choir, 2 guitars, percussion, and string orchestra.
  • Madrigales Carnívoros II (Carnivorous Madrigals II)
    Cycle of Three Songs:
    – Mogadiscio (Mogadishu) (1993)
    Text: Francis Combes and Sergio Ortega.
    – Mandela (Mandela) (1988)
    Text: Francis Combes and Sergio Ortega
    – Paz para los crepúsculos que vienen (Peace for the Coming Twilights) Text: P. Neruda.
    For voice and piano.
  • Pido Castigo (I Demand Punishment) (1993) Text: P. Neruda.
    For baritone, flute, viola, cello, tiple, percussion, and piano.
  • Six nouvelles mélodies vilmorines (Six New Vilmorin Melodies) (1994) Text: Louise de Vilmorin.
    For voice and piano.
  • Die Geheimnisse (The Mysteries) (1995) Text: Johann Wolfgang Goethe.
    For soprano, baritone, and organ.
  • Chant d’amour au matin (Love Song in the Morning) (1996) Text: Che Lan Vien.
    For soprano, harp, and percussion.
    Two other versions exist: for soprano and piano.
  • Leyendo a Guillén (Reading Guillén) (1997) Text: Nicolás Guillén.
    For narrator, piccolo, oboe, saxophone, 3 percussionists, piano.
  • Un Enjambre por Atahualpa (A Swarm for Atahualpa) (1998) Text: ¡Ay, Misitu!, traditional Aymara, found and transcribed by José María Arguedas.
    For three coloratura sopranos, kena, charango, and bombo.
  • Trois Haïkus (Three Haikus), (1999)
    For 2 sopranos, 2 mezzos, 1 Andean flutist (kena, kenacho, zampoña, and moceño), charango, guitar, and percussion.

A cappella vocal chamber music

  • El viejo Gallego Trueba (The Old Galician Trueba) (1968) Text: A. Sabella.
    For a cappella choir
  • Se fué besando la tierra (He Went Along Kissing the Earth) (1979)
    Text: Pablo Neruda.
    For choir.
  • Complainte contre les quotas laitiers (Complaint Against Milk Quotas) (1989) Text: Sergio Ortega and Francis Combes.
    For choir.
  • Corrientes aguas, puras, cristalinas (Flowing Waters, Pure, Crystal-Clear) (1992) Text: Garcilaso de la Vega.
    For choir.
  • A unos ojos (To a Pair of Eyes) (1993) Text: Gutierre de Cetina.
    For madrigal.

Popular cantata

  • Canto al Programa (Song for the Programme) (1971) Text: Raúl Rivas.
    Written in collaboration with Luis Advis.
    For men’s voices, quenas, guitars, and percussion.
  • La Fragua (The Forge) (1972) Text: Sergio Ortega.
    For men’s voices, narrator, chamber orchestra, 2 percussionists, and guitar.
  • Bernardo O’Higgins Riquelme, 1810 (1978) Text: Pablo Neruda.
    For mixed vocal sextet, flute, viola, cello, double bass, piano, percussion, and guitar.
  • Chant de Rivalité (Song of Rivalry) (1978) Text: Matti Rossi.
    For mixed vocal quartet, trumpet, synthesizer, percussion, piano, and double bass.
  • Les deux Mères (The Two Mothers) (1986) Text: Sergio Ortega.
    For soprano, mezzo-soprano, mixed choir, 2 flutes, clarinet, 2 percussion, piano, cello, double bass, archlute.
  • Cristóbal Colón (Christopher Columbus) (1990) Text: Eduardo Carrasco.
    For men’s voices, plucked-string ensemble, double bass, and 3 percussionists.
  • La Voix des Voies (The Voice of the Ways) (1995) Text: Francis Combes.
    For 2 actresses, 8 singers (double quartet), flute, horn, accordion, piano, and 3 percussionists.
  • Condorkantaï (Condorkantaï) (1996) Text: Hector Miranda.
    For the group Calchakis: men’s voices, quenas, guitar, and percussion.
  • Merci Chéri (Thank You, Darling) (1997) Text: Sergio Ortega, based on a newspaper article about a luxury car sale.
    For 2 sopranos, mezzo-soprano, baritone, madrigal ensemble, and piano.

Concert cantata

  • La Dignidad (Dignity) (1979) Text: Neruda, Montes, Riquelme, and Ortega.
    For soprano and 2 percussionists.
  • Le Grand Mamonège (The Great Mamonège) (1981) Children’s texts arranged by Vincent Fournier.
    For children’s choir, narrator, and orchestra.
  • L’Eloge du Bandit (In Praise of the Bandit) (1996) Text: Sergio Ortega.
    For 2 sopranos, mezzo-soprano, baritone, madrigal ensemble, barrel organ, and wind orchestra.
  • Mejor Morir de Pié que vivir toda la Vida Arrodillados (Better to Die Standing Than to Live One’s Whole Life on One’s Knees) (1998) Text: Emiliano Zapata.
    For choir, 4 trumpets, 4 trombones, and timpani.
  • Le Trésor Magnifique (The Magnificent Treasure) (1999) Text: Francis Pornon.
    For popular singer, choir, clarinet, saxophone, trombone, lute, guitar, accordion, 2 percussionists, piano, and double bass.

Chamber cantata

  • La Rosa Separada (La Rosa Separada) (1986) Text: Pablo Neruda.
    Collective writing with Felipe Canales, Constanza Dávila, Sophie Geoffroy-Dechaume, Jaime Miqueles, and Eduardo Valenzuela.
    For soprano, mezzo-soprano, flute, clarinet, piano, 2 percussionists, and string quintet.
  • Ballades pour la Paix (Ballads for Peace) (1986) Text: Eduardo Sanguinetti.
    Collective writing with Friedrich Goldmann, Harold Gramatges, Klaus Huber, and Luca Lombardi.
    For soprano, baritone, flute, oboe, clarinet, tenor saxophone, trumpet, horn, trombone, tuba, viola d’amore, violin, viola, cello, double bass, and 2 narrators (male and female).

Musique symphonique

  • El Pueblo Unido Jamás será vencido (The People United Will Never Be Defeated) (1975) Text: Sergio Ortega and Quilapayún
    Choir and symphony orchestra.
  • Les Deux Mères (The Two Mothers) Text: Sergio Ortega. Four Symphonic Songs
    For soprano, mezzo-soprano, choir, and symphony orchestra.
  • Cantares de Pedro Páramo (Songs of Pedro Páramo) (1984) Text: Juan Rulfo.
    Three Symphonic Songs
    For baritone and symphony orchestra.
  • ¿Qué he sacado con quererte ? (What Have I Gained by Loving You?) (1987) Réécriture d’un vieux chant de Violeta Parra.
    For 2 sopranos and symphony orchestra.
  • El Patio y la Lluvia (The Courtyard and the Rain) (1987) Text: Juan Rulfo.
    For child soprano, tenor, bass, and symphony orchestra.
  • Tiahuanaco (Tiahuanaco) (1997)
    For symphony orchestra.

Musique instrumentale populaire

  • Amanda (Amanda) (1971)
    For quena, charango, guitars, and percussion.
  • Ortiga (Ortiga) (1971)
    For tiple, guitars, and percussion.
  • Amour au fond du ciel (Love at the Bottom of the Sky) (1995)
    For 2 flutes, tiple, bass guitar, and 2 rain sticks.
  • Noches (Nights) (1997)
    For quena, charango, guitars, and percussion.

Comédie musicale

  • La Dama del Canasto (The Lady with the Basket) (1965) Libretto: Isidora Aguirre.

Theatre music

  • A partir de mañana (From Tomorrow Onward) (1961) Author: Dürrenmatt. CADIP, Directed by: Antonio Skármeta.
  • El fantasmita Pluft (Pluft, the Little Ghost) (1961) Unknown Brazilian author. Directed by: M.E. Vergara.
  • No llevan smoking (They Don’t Wear Tuxedos) (1962) Unknown Brazilian author. Directed by: Roberto Parada. Teatro del Pueblo.
  • Maestro Pathelin (Master Pathelin) (1963) Anonymous author. Directed by: Víctor Jara. Escuela de Teatro de la Universidad de Chile
  • El jardín de los cerezos (The Cherry Orchard) (1963) Author: Anton Chekhov. Directed by: Víctor Jara, Escuela de Teatro de la Universidad de Chile
  • La comedia del viudo (The Comedy of the Widower) (1963) Author: Gil Vicente (Portuguese poet of the 16th century). Directed by: Jaime Silva. A suite of three songs for voice and string orchestra was derived from this score.
  • Los de la mesa 10 (Those at Table 10) (1963) Author: Osvaldo Dragún. Directed by: Antonio Skármeta.
  • El milagro del viejo mercado (The Miracle of the Old Market) (1962) Author: Osvaldo Dragún. Directed by: Víctor Jara. Escuela de Teatro de la Universidad de Chile
  • Romeo y Julieta (Romeo and Juliet) (1964) Verse translation by Pablo Neruda. Directed by: Eugenio Guzmán. For the Theatre Institute of the University of Chile (ITUCH).
  • Santa Juana (Saint Joan) (1965) Author: J. B. Shaw. Directed by: Pedro Orthous. For the Theatre Institute of the University of Chile (ITUCH).
  • Coronamiento (Coronation) (1965) Author: José Donoso. Directed by: Eugenio Guzmán. For the Theatre Institute of the University of Chile (ITUCH).
  • Ayayema (Ayayema) (1965) Author: Asunción Requena. Directed by: Raúl Rivera. Compañía del Teatro Municipal de Santiago
  • Auto-sacramental (Auto Sacramental) (1966) Author: Lope de Vega. For ITUCH.
  • Saludos de Berta (Greetings from Bertha) (1966) Author: Tennessee Williams. Directed by: Eugenio Guzmán. For ITUCH.
  • Santa Juana de América (Saint Joan of the Americas) (1966) Author: Lizzárraga. Teatro de la Ciudad de Puerto Montt
  • Fulgor y Muerte de Joaquín Murieta (Splendour and Death of Joaquín Murieta) (1967)
    Dramatic cantata. Author: Pablo Neruda. ITUCH.
  • El Evangelio según San Jaime (The Gospel According to Saint Jaime) (1969) Anti-Passion for the stage. Author: Jaime Silva. Directed by: Jaime Silva. ITUCH.
  • Ocupamos la Universidad (We Occupy the University) (1969) Author: Egon Wolff. Teatro de la Universidad Católica
  • La Celestina (La Celestina) (1971) Play adapted and directed by Gustavo Meza. Teatro de la Universidad Católica
  • Voyage au Centre de la Terre (Journey to the Center of the Earth) (1975) Author: Jules Verne. Adaptation: Pierre Debauche. Théâtre des Amandiers
  • Monsieur Jean (Monsieur Jean) (1975) Author: Roger Vaillant. Directed by: Pierre Debauche, Théâtre des Amandiers.
  • Vous avez mis le monde en moi (You Put the World Inside Me) (1988) Author: Alain Bouché. For the Théâtre École
  • La Cité Fertile (The Fertile City) (1997) Author: Andrée Chédid. Théâtre de l’Ourq

Film music

  • Le Hussard de la Mort (The Hussar of Death) (1925). Re-release (1963)
    Director: Pedro Siena. Feature film (fiction).
  • Seis documentales sobre los paisajes de Chile (Six Documentaries on the Landscapes of Chile)
    (1962-1965)
    Director: Fernando Balmaceda. Documentary short films.
  • Las Banderas del Pueblo (The Flags of the People) (1963)
    Director: Sergio Bravo. Feature film (fiction).
  • El Chacal de Nahueltoro (The Jackal of Nahueltoro) (1969)
    Director: Miguel Littin. Feature film (fiction).
  • Los Testigos (The Witnesses) (1970)
    Director: Charles Eissesser. Feature film (fiction).
  • Ich war, ich bin, ich werde sein (J’étais, je suis, je serai) (I Was, I Am, I Will Be) (1974)
    Director: Studio Heynowsky and Schewmann. Feature documentary.
  • Eine Minute dunkel Nacht uns nicht blind (Un instant d’obscurité ne nous aveugle pas) (A Moment of Darkness Does Not Blind Us) (1975)
    Director: Studio Heynowsky and Schewmann. Feature documentary.
  • Le Premier Riz après (The First Rice After) (1976)
    Director: Studio Heynowsky and Schewmann. Feature documentary.
  • La Forteresse d’acier (The Steel Fortress) (1976)
    Director: Studio Heynowsky and Schewmann. Feature documentary.
  • L’lle du Diable (Devil’s Island) (1977)
    Director: Studio Heynowsky and Schewmann. Feature documentary.
  • Le Delta du Mékong (The Mekong Delta) (1977)
    Director: Studio Heynowsky and Schewmann. Feature documentary.
  • La Communion Solennelle (Solemn Communion) (1977)
    Director: René Feret. Feature film (fiction). Official submission to Cannes.
  • Idylle (Idyll) (1982)
    Director: Françoise Prévost, after a short story by Maupassant.
  • Taxi para Tres (Taxi for Three) (2000) Bolero from the film.
    Director: Orlando Lübert.
    San Sebastián Festival Prize. 2001.