Metalepsis has been awarded the XLII Reina Sofía Prize for Musical Composition. What does this recognition mean to you?

It is a great joy, above all because it acknowledges a long process of work — one that is almost always silent and solitary. Composition requires patience, effort, and constant dedication, often without knowing whether what one is creating will find resonance beyond the studio. For this reason, I also see this award as recognition of that long journey and as an encouragement to continue exploring.

How would you describe Metalepsis to someone unfamiliar with contemporary music? What sensations or ideas do you hope it conveys to its listeners?

I conceive each new work as an adventure, and I hope this experience also resonates with the listener. In Metalepsis, the dramaturgy unfolds through contrasts, interruptions, and silences that give rise to unexpected soundscapes, where each element converses with the next, creating a continuous flow of discoveries. I hope that whoever listens approaches it with curiosity, allows themselves to be surprised by the unexpected, and along the auditory journey, finds moments of calm and, hopefully, of beauty.

Could you share the creative process behind Metalepsis? Are there aesthetic or narrative ideas that guide its sonic architecture?

The starting point was the rhetorical concept of metalepsis, understood as an interweaving of narrative planes. I was interested in exploring how to translate this figure into music: what happens when different threads of a story intersect, interrupt, or infiltrate one another. The creative process involved shaping materials capable of intertwining in unexpected ways, generating a sonic fabric that does not advance in a straight line but unfolds through crossings and diversions — all without losing a dramaturgical unity that keeps the piece cohesive throughout its journey.

As a composer and conductor whose career has included collaborations with various orchestras and international institutions, how do you see the role of emerging composers today?

Those starting out today as creators face a difficult context: it is challenging to find spaces to present their work and to ensure its continuity. The early stages of a composer’s path are often marked by uncertainty, but precisely there lies the opportunity. I believe their role is to be brave — to explore their own voice and remain committed to what they wish to express, even when immediate responses are lacking. Perseverance and honesty in this process are essential: they give music its meaning and allow it, over time, to find performers and audiences who receive it authentically.

Why is it important that a prize like the Reina Sofía Prize for Musical Composition exists?

Because contemporary music often lacks visibility, and such distinctions — in addition to their significant financial support — help place it at the center of attention. They also highlight the work itself, allowing it to be performed in different venues and to reach a wider audience. At the same time, they provide essential support for contemporary creation, which requires institutional backing to continue developing in our country.

Music is not only an art form but also a powerful tool for raising social awareness and promoting values such as justice and sustainability. From your experience as a composer, how do you see the role of music in fostering positive change in society and addressing today’s great challenges?

Music cannot directly solve problems, but it can help us see them differently. It has the power to bring us together, to awaken empathy, and to remind us that we share the same space and time. In an accelerated and fragmented world, it can open a pause: a place for attention, for silence, and for imagining different futures. It is within this space that its transformative power resides.