To say it prosaically: My music speaks my own biography and my own biographical aspirations becoming a straight reflect of the impact of the world I perceive upon me. The personal anxiety regarding the discovery of a wider panorama has guided my work since I became fully aware of this voice search, taking me through constant movement and exploration. My music tries to reflect this through what I consider a nomadic musical attitude which has made me look eastwards to find out a not yet fully explored musical field, peek into other places and cultures through the chants, sounds and musical expressions of mainly, eastern cultures. How did this happen? On the one hand, there are personal experiences, for example having a mixture of Mexican and Hungarian ancestry, having Hinduism as my first religion as a child and having traveled through Middle East for four months in 2006: an experience that deeply marked me, discovering a real treasure of musical heritage by the hands of diverse civilizations which have, in many ways, given birth to the marvelous and rich western culture and the world. Since then, my music has been looking to blend the western contemporary musical “tradition” (a vague but pragmatic term in this case), its dialectic and tools with what I consider is an equal baggage of the same terms in non western music traditions. Musically, there is also a technical justification for this research and interest. It’s not a secret that the western contemporary music has been suffering, in recent decades, a crisis of speech, appreciation and renewal; crisis which is transferred to the composers themselves and more heavily, to the younger generations. I have gone through my personal quest to find tools which I can perceive as fresh elements for creating and exciting the imagination as well as the spirit. This I have found in eastern and more specifically Middle Eastern music, full of musical nuances in discourse, tone, color and organic aspects. My work, therefore, expresses this kind of syncretism which I consider to be always, the mother of all new cultures: the transfer of particles of identity which blend partially or fully, naturally and violently to create a new cultural identity. Doing this, I am trying to achieve personal paths of expression. The anthropological aspect can’t be denied either, as in some of my works, I have taken full inspiration from eastern rites, myths, life scenes and musical traditions. This can be said about the compositions “Sama” for string quartet, accordion and optionally a Persian setar, which finds its sources in the sufi chant and adorations, which take place during the sacred sama ceremony and uses as music sources this same chants and some Iranian folk melodies subtly integrated in the discourse. “Middle Eastern flashes”, a piece for clarinet and tape which uses Jewish klezmer techniques for the solo instrument and samples recorded by myself during my travel or the piece “Qambar Batïr” for voice and tape also, depicting an epic tale in Kazakh language and using samples from the kyl-kobyz: the national Kazakhstan instrument. But it can be taken also in a fully abstract way. The short piece of absolute music “Miniature” reflects this, being its musical substance the result of this sound blending but without any cultural references further than this. The fascination to these new “old” sounds and their freshness is what attracts me and not the plain representation of its sources, which I am not afraid to pay tribute to as a rich cultural human heritage, completely lively and organic.