It was the first piece composed for the funeral series, together with Carlos Montes. We have tried to convey a sense of peace, tranquility, serenity that is manifested at the beginning, with the sopranos on the same note while the rest of the voices go down. The intervals are generally short and the harmony gentle, to create an atmosphere of peace.

The text is so beautiful that I decided to make a new version. In this case, the piece is conceived as a path: After the violin intro, we go through successive keys (Dm, Bb, Eb, Am) until we reach measure 27, Ierusalen, again in Bb, which is the climax of the piece. After the pilgrimage through this life, represented in all these modulations, we arrive at the place where our steps are directed, the Holy City, where the angels receive us. Harmony and lyrics, in this case, go hand in hand.

Piece for funerals, composed with Carlos Montes. It has violin accompaniment, and is intended to be sung without contralto. It could be in three equal voices. I also see it as a serene, quiet piece, which speaks of peace with a nice dialogue between voices and strings.

Piece for funerals for 3 voices. When I composed this piece, I was thinking about the encounter of the soul with the light, as the title indicates. The fugal entrance of the voices in "lux" are like distant glimmers of something luminous that we approach little by little. The following bars are deliberately dark, until we reach the glow of "Dómine". Subsequently, a new progression emerges in "quia pius es" (for thou art merciful), representing the definitive ascent to the Father, symbolized in the luminosity of the last chord of the progression, F. The work closes circularly, returning to the flashes of the beginning.

Piece for funerals, composed with Carlos Montes. In principle it is for SAB, but it can be sung with equal voices. This piece has a less serious character, more festive than others of this genre. The choir of angels takes you to eternal rest. It is sung from the confidence, from the certainty in the divine mercy.

I composed this piece for the funeral of a very dear choir member. After the monody, a crescendo leading towards Christo, where it culminates, shows us the path of the soul on its ascent.