on Being (2018) for cello

• approx. duration: 9' 00"

• on Being is a musical essay that attempts to address my particular experience as a Puerto Rican Latino composer in the classical music environment as well as a member of society. As musicians, many have told us that being oneself is the true path to be an artist, as famous painter Françoise Gilot said: “Art doesn’t come from what is around you, but from what is inside you.” Being an artists is to share oneself with others, share the personal experience, the unique thing that can only be said by an individual exactly because of his/her singularity. But what happens when that individuality, that inherent definition of existence is the sole obstacle to Being, to sharing, to equality...

  As a member of the non-represented and (perhaps unconsciously) dismissed minority in classical music, in this piece I take my Puerto Rican National Anthem as inspiration for the narrative and symbol of my Being. Exposed to breaking points, interruptions, sorrowful moments and outbursts of indignation, on Being tries to express how that absence of privilege and, unchecked and ignored biases in our society, particularly our musical society, repress those who are different, neglecting or devaluing their artistic expression, due to their diversity. It is a musical narration of feelings of helplessness as well as pain, feelings that haunt you when, after sharing something in vulnerability, its devalued because of who you are, where you come from and how you look in the eyes of those who lavishly indulge in privilege.

• premiere: on Being was premiered on November 12, 2018, in the special concert on the edge, a collaborative musical performance which explored the intersection of personal experience and new compositions, by the South African cellist Thapelo Masita at The Juilliard School.

Críptico No. 6 (2013) for flute

• approx. duration for No. 6: 2' 30"

• The críptico is a compositional methodology created by Iván Enrique Rodríguez consisting of the conversion of texts---written by the composer---into short musical pieces typically for a solo instrument.

• premiere: The Críptico No. 6 was premiered in the intimacy of the wonderful new Concert Space at Beethoven Pianos in midtown Manhattan on November 19th, 2015 by Darwin Cosme.

Sonata No. 1 (2014)

• approx. duration: 12' 00"

• My guitar Sonata No. 1 was born out of the necessity of some guitar students at the Conservatorio de Música de Puerto Rico to have new, challenging and different repertoire for the guitar. They wanted a piece that could actually represent a concert show piece for the instrument treated idiomatically of course, but without restraint. While this sonata was conceived for the instrument, it is also for the player. It is a very challenging piece. As such, the Sonata No. 1 is a showpiece for the performer by featuring one’s technical abilities as well as the player’s musicality. It is also a piece that the audience will remember!

• premiere: Sonata No. 1 has been played, but not yet been given a public premiere.

Crípticos Nos. 4 & 5 (2013) for guitar

• approx. duration for No. 4: 2' 00"

• approx. duration for No. 5: 3' 00"

• The críptico is a compositional methodology created by Iván Enrique Rodríguez consisting of the conversion of texts, written by the composer, into short musical pieces typically for a solo instrument.

• premiere: The Crípticos Nos. 4 & 5 were premiered in 2013 by guitarist John Rivera Pico in the Jesús María Sanromá Symphony Hall at the Conservatorio de Música de Puerto Rico.

• recording: John Rivera Pico's debut recording features contemporary classical music from Puerto Rico and Cuba, including Iván's Crípticos Nos. 4 & 5. The full album, Fronteras, and individual tracks are available from iTunes and CD Baby.

Ballade (2014)

• approx. duration: 7' 30"

• After hearing Elisa Torres Pérez perform Alberto Ginastera's Harp Concerto with the Puerto Rico Symphony Orchestra, I was inspired by her amazing interpretation and execution of the work. Ballade is a virtuosic piece for harp composed for and dedicated to Elisa Torres and aligned with her amazing capabilities and musicianship.

 La Ventana Secreta al Cielo (2012)

• approx. duration: 8' 00"

• La Ventana Secreta al Cielo (The Secret Window to Heaven) is a fantasy for solo harp aspiring to evoke the metaphysical moment in which one stands between the Earthly looking through the window of the Holy. In spite of the fact that one will be able to cross to the other side, this experience comes with a glimpse of wisdom and an overall peaceful acceptance that, even with the unattainable of the Holy, the experience is vast and enough.

• premiere: by Elisa Torres Pérez in 2012 at the Jesus Maria Sanroma Symphony Hall at the Conservatorio de Música de Puerto Rico.

The Broken Contract (2021)

• approx. duration: 6' 30"

• For harp and recording

• Using the words of James Baldwin, Kimberly Jones, and recordings of my own day-to-day life, in The Broken Contract I try to convey the extra layer of emotional complexity that words try to carry. Using the harp and its special sonorous and sonic capacities, I envelop the words of such titanic leaders to share and experience that I hope can produce at least introspection, faith, and courage to be just humans.

• premiere: by Ensemble Intercontemporain - Valeria Kafelnikov in 2021 in Paris. Listen Here

Estudio Insulso (2015) for marimba

• approx. duration: 5' 00"

• Estudio Insulso (Dull Etude) for marimba follows the étude tradition of the early 19th century as a relatively short piece of considerable difficulty and designed to provide practice material for developing skill and musical perfection. While the majority of études are used as teaching material, many have achieved a place in today’s concert repertory. While Estudio Insulso is an absolute composition, the tempo marking could suggest a poetic line of interpretation for which the performer may need to build a personal story line for a descriptive connection.

• premiere: Estudio Insulso has not yet been given a public premiere.

Crípticos Nos. 1, 2 & 3 (2013) for piano

• approx. duration for No. 1: 3' 00"

• approx. duration for No. 2: 3' 00"

• approx. duration for No. 3: 2' 00"

• The críptico is a compositional methodology created by Iván Enrique Rodríguez consisting of the conversion of texts---written by the composer---into short musical pieces typically for a solo instrument.

• premiere: The Crípticos Nos. 1, 2, & 3 were premiered in 2013 by pianist Yleana Bautista in the Jesús María Sanromá Symphony Hall at the Conservatorio de Música de Puerto Rico.

on Being (2018) for viola

• approx. duration: 9' 00"

• on Being is a musical essay that attempts to address my particular experience as a Puerto Rican Latino composer in the classical music environment as well as a member of society. As musicians, many have told us that being oneself is the true path to be an artist, as famous painter Françoise Gilot said: “Art doesn’t come from what is around you, but from what is inside you.” Being an artists is to share oneself with others, share the personal experience, the unique thing that can only be said by an individual exactly because of his/her singularity. But what happens when that individuality, that inherent definition of existence is the sole obstacle to Being, to sharing, to equality...

  As a member of the non-represented and (perhaps unconsciously) dismissed minority in classical music, in this piece I take my Puerto Rican National Anthem as inspiration for the narrative and symbol of my Being. Exposed to breaking points, interruptions, sorrowful moments and outbursts of indignation, on Being tries to express how that absence of privilege and, unchecked and ignored biases in our society, particularly our musical society, repress those who are different, neglecting or devaluing their artistic expression, due to their diversity. It is a musical narration of feelings of helplessness as well as pain, feelings that haunt you when, after sharing something in vulnerability, its devalued because of who you are, where you come from and how you look in the eyes of those who lavishly indulge in privilege.

• premiere: on Being (fo viola) has nit received a public premiere.

Críptico No. 7 (2014) for violin

• approx. duration for No. 7: 9' 00"

• The críptico is a compositional methodology created by Iván Enrique Rodríguez consisting of the conversion of texts---written by the composer---into short musical pieces typically for a solo instrument.

• premiere: The Críptico No. 7 has been played, but not yet been given a public premiere.

Latency Denouement (2020) for violin

• approx. duration 3' 00"

• Commissioned by the Icelandic award winning violinist Rannveig Marta Sarc, Latency Denouement, is a fantasy for solo violin that takes a hopeful look into the recent pandemic and racism crisis of the United States. As a composer of color myself and a survivor of the COVID-19, I could not but inspire myself by the resiliency of those who suffered the infection or had loved ones suffer, or perhaps have them perish, by the hands of this silent malady. Furthermore, while facing this new challenge, watching the country stand up against the systemic racism, inspiring action all around the globe, awakened in me a long forgotten hope that I thought I had lost. Although we still face challenges, and will continue to do, I certainly hope for endurance and action, as the slumbering time of what was latent, has come to an end... hopefully.

• premiere: Latency Denouement has not yet received a public premiere.