After writing several orchestral works of program music (suchas "Cocorí, o la Rosa y el Niño" (2015); "Costa Rica Aérea" (2016), "El Susurro de una Brisa" (2012), and
"Tío Conejo" (2013), I felt the need to compose a piece of absolute music, without drawing inspiration in any literary work.
I had no preconceived plans about its structure, nor I thought of motives or melodies before starting to compose – I just wanted to let the music dictate its own course as it unfolded, that each measure would suggest where it wanted to go across the page. The speedy, agitated tempo is restless (once you are on board of this train is hard to get off). Hence, the orchestration itself somehow provides the structure for this piece.
Eventually, a motif appeared that would not quit, so I allowed it to return several times. Towards the end, the material from the opening makes a comeback in a different key and mode. Inevitably, the influence of latin folk music permeates some segments (the ephemeral 6/8 and 3/4 ternary rhythm
