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To write concertos means placing oneself in the occidental tradition. At the same time, that implies a great challenge as one confronts a musical form worked throughout previous centuries by many composers. How to write concertos in twenty-first century? How to approach a well established old form and giving it a new aspect? These are the questions that I decided to face when proposing to write three concertos as a doctorate project. The goal was to achieve to create expressive, coherent pieces where the musical is fluid, while keeping a balance between the soloist and the orchestra by adapting the orchestral writing to the characteristics of the soloist. For that purpose, I used various techniques of composition, different kind of transitions, as well as orchestral colours and various ways of playing the instruments. However, the most important thing was to create three pieces that reflect who I am and that express my vision of the world, the things I like, my illusions and my dreams. It was while composing, by making musical decisions, that a particular music took form. It was a music that integrates elements from different musical traditions. On the one hand the occidental "classical" music, in the other hand folklore music from different cultures, but mainly those from Mexico. Those cultures were already a mixture surged from the encountering of occidental people with the Pre-Hispanic cultures, with some influence of the Arab cultures (very present in Spain in the 16th century) and of African ones. At the end, the result is a music written for symphonic orchestra with pal1icular rhythms and characteristics. Music entirely mine about which] will write in the following lines. The pieces I present in this work are: (I) Clarone for bass clarinet and orchestra; (II) Moemi for marimba and orchestra; (III) Toni alossaan for symphonic orchestra. Key words: composition, concerto, marimba, bass clarinet, traditional music, folklore music, abenaquis, Mexico
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