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It is the fourth formal pillar of the brand, joining the already established verticals: \xa7SYNC\xa7 (boutique premium music catalogue for licensing), \xa7BESPOKE\xa7 (original music tailored for audiovisual, dance, theatre and branding) and \xa7Audio Branding\xa7 (sonic identity for brands and creatives).","The Academy brings together the tools H\xe9ctor has been developing for years: the \xa7OCR Method\xa7 as the complete foundation for building a sustainable business in the creative sector, an \xa7MBA\xa7 adapted for the age of artificial intelligence, the \xa7OCR Portal\xa7 — the gateway to the Method, a professional diagnosis to help participants find their footing before navigating the system —, a personalised \xa7AI Assistant\xa7 and access to a community of more than 300 industry professionals. The decision to take it to Skool follows a clear logic: scaling without losing the closeness of direct mentorship.","In parallel, Glocal Sound\xae is building \xa7app.glocalsound.com\xa7 — a full \xa7SAAS\xa7 platform for conceptualising, designing, creating and automating businesses in the music sector. The integration with Academy will turn the platform into an operating system for musicians, producers and entrepreneurs: learning, diagnosis, management tools and a professional network, all within the same environment. Audio as product, audio as service, audio as business."]},"2025-glocal-sound-academy":{"title":"Glocal Sound\xae Academy","role":"Founder, lead mentor, programme design","tagline":"The community where musicians build real businesses","blocks":["Launc

1h of \xa7Glocal Sound\xae Academy\xa7, the training and mentorship division of Glocal Sound\xae. After three decades composing, producing and directing musical projects, H\xe9ctor structures all that knowledge into a programme aimed at musicians and creative industry professionals who want to turn their talent into a sustainable business.","The programme includes the \xa7OCR Method\xa7 — *Eye, Heart, Wheel* —, the \xa7complete foundation\xa7 that H\xe9ctor began developing in \xa72018\xa7 to build a sustainable business in the creative sector (music, audiovisual, performing arts and branding); an \xa7MBA\xa7 adapted for the age of artificial intelligence; the \xa7OCR Portal\xa7 — the gateway to the Method, a professional diagnosis that allows each participant to find their footing before navigating the system —; a personalised \xa7AI Assistant\xa7 that analyses their situation and suggests concrete steps; and access to a \xa7community of more than 300 industry professionals\xa7 for networking and shared experiences.","The Academy\'s philosophy can be summed up in one line: *\xabTalent without structure is scattered energy. It\'s time to give it a channel.\xbb* With more than 21 years of experience as CEO, two music companies founded that have generated over 3 million euros in revenue, and more than 90 productions in dance, theatre, film and music, H\xe9ctor teaches from the trenches, not from theory."]},"2025-hilo-de-fuego-de-albores":{"title":"Hilo de Fuego: De Albores. Suite Flamenca","role":"Composition, orchestrations, musical direction and production — Part I \xabDe Albores\xbb","tagline":"World premiere \xb7 Patio Central del Conde Duque, Madrid","blocks":["World premiere at the \xa7Patio Central del Conde Duque\xa7 — a venue with \xa71,450 seats\xa7 and the festival\'s epicentre — on \xa716 and 17 August 2025\xa7, within the 41st edition of \xa7Veranos de la Villa\xa7. That same season the Patio Central hosted \xa7Marcus Miller\xa7, \xa7Tomatito\xa7, \xa7Julieta Venegas\xa7, the \xa7Junior Ballet de l\'Op\xe9ra de Paris\xa7, \xa7Pasi\xf3n Vega\xa7, \xa7Mayte Mart\xedn\xa7, \xa7Juan Valderrama\xa7 and the \xa7RTVE Orchestra and Choir\xa7 with *Queen. A Night at the Symphony*. *Hilo de Fuego* was the only large-format flamenco production with a world premiere at the courtyard that summer.","The production is structured in two parts. Part I, *De Albores*, unfolds over the \xa7Suite No. 1 De Albores\xa7 — an original composition by H\xe9ctor, inspired by the oriental legend of the *red thread of fate* that irrevocably connects people — and plays \xa7entirely recorded\xa7 in the performance space. H\xe9ctor signs the \xa7principal composition\xa7, the \xa7orchestrations\xa7, the \xa7musical direction\xa7 and the \xa7music production\xa7, coordinating a team of \xa7co-authors\xa7 who contribute arrangements for their respective instruments: \xa7Pablo M. Jones\xa7 (percussion and electronic programming), \xa7El Amir\xa7 (guitar; guitarist of \xa7Hans Zimmer\xa7), \xa7Gabriela Gim\xe9nez\xa7, \xa7Montse Cort\xe9s\xa7 and \xa7Diana Navarro\xa7 (voices). Part II, *Suite Flamenca*, is signed by \xa7Pedro Medina\xa7 and \xa7Julio Alcocer\xa7 and performed by \xa7four live musicians\xa7, with \xa7Juan Debel\xa7 and \xa7Fran Al-Blanco\xa7 leading the Flamenco singing.","*Reviews* — \xa7Roger Salas\xa7 in *Scherzo* (20 Aug 2025): \xabThe dancing is of high quality and the presentation is always sustained at a fine level [...] beautiful to the point of being striking.\xbb \xa7Antonio Hern\xe1ndez Nieto\xa7 in *Frontera D* (17 Aug 2025): \xabThis choreographer works with a magnificent dance company. One that is a pleasure to watch. [...] More than once throughout the production the audience cannot resist and applauds.\xbb",null]},"2025-nebula-dansaires":{"title":"N\xe9bula","role":"Original music and adaptation","tagline":"Gran Teatre d\'Elx \xb7 55 minutes of pure dance","blocks":["A production created by \xa7Ballet Dansaires\xa7 and the \xa7Escuela de Danza Pilar S\xe1nchez\xa7, premiered on 18 May 2025 at the \xa7Gran Teatre d\'Elx\xa7 before a near-capacity audience. *N\xe9bula* traces a choreographic journey from darkness to light and from classical to contemporary dance, passing through the eras of art as a cosmic metaphor.","H\xe9ctor signs the \xa7original music\xa7 and the musical adaptation of the production — contemporary sounds with classical nuances that accompany a scenic progression from medieval sobriety to modern expressionism. The title shares its name with his piece *Nebula* from the Glocal Sound\xae SYNC catalogue, closing an arc between the personal work and the production for the family stage.","*Artistic direction*: \xa7Pilar S\xe1nchez\xa7 and \xa7Sonia Gonz\xe1lez\xa7. *Choreography*: Pilar S\xe1nchez, \xa7Mar\xeda Eugenia Almira\xa7, \xa7Mar\xeda Tom\xe1s\xa7 and Sonia Gonz\xe1lez. *Teaching staff*: Sonia Gonz\xe1lez, Mar\xeda Eugenia Almira, Mar\xeda Tom\xe1s and \xa7Tacha Gonz\xe1lez\xa7. *Cast*: advanced students and alumni of the School, forming a new generation of pre-professional performers in the chamber ballet tradition that Pilar S\xe1nchez created with DansAires in 1972.",null],"captions":[null,null,null,"Photo: J. Monzon \xb7 Escuela de Danza Pilar S\xe1nchez"]},"2025-menospausa-la-tacha":{"title":"Menospausa","role":"Pre-existing piece licensed — *Nana al Alba*","tagline":"Intensity, humour and beauty — Gran Teatro de Elche","blocks":["*Menospausa* is not just one thing: it has \xa7intensity\xa7, it has \xa7humour\xa7, it has \xa7beauty\xa7. It is the \xa7first solo work\xa7 of \xa7Tacha Gonz\xe1lez\xa7 — co-owner of the tablao \xa7Las Carboneras\xa7 in Madrid —, premiered at age \xa756\xa7 at the \xa7Suma Flamenca\xa7 in Madrid (11 June 2023) and described by her as *\xaba tribute to my ovaries\xbb*. A reclaiming of the mature female body as a territory of scenic power, without concessions or euphemisms, fusing the force of flamenco with a sincere exploration of change in women.","H\xe9ctor has no part in the creative studio process of *Menospausa*. \xa7Sonia Gonz\xe1lez\xa7 — stage director, H\xe9ctor\'s sister — chooses \xa7*Nana al Alba*\xa7, a pre-existing piece by H\xe9ctor sung on recording by \xa7Montse Cort\xe9s\xa7, and integrates it into the dramaturgy under licence. The original music created specifically for the production is signed by \xa7Jos\xe9 El Pelirrojo\xa7, \xa7Teresa Hern\xe1ndez\xa7, \xa7Ram\xf3n Porri\xf1as\xa7 and \xa7Alfonso Acosta \xabPantera Acosta\xbb\xa7. On stage, the live trio is formed by Tacha Gonz\xe1lez on dance, Teresa Hern\xe1ndez on Flamenco singing and \xa7Jos\xe9 \xabEl Peli\xbb\xa7 on guitar.","The revival on \xa74 May 2025\xa7 closes the \xa7Festival Abril en Danza\xa7 at the \xa7Gran Teatro de Elche\xa7 — the same theatre that lent its space for the filming of the promotional video for *Kybalion (The Concert)* and where his mother has spent six decades training dancers. A homecoming to the family stage, accompanying his sister in a piece where the personal and the artistic fuse without warning."]},"2024-nuances":{"title":"Nuances","role":"Composition, virtual orchestration, production and distribution","tagline":"EP \xb7 milestone in professional virtual orchestration","blocks":["Second EP released by \xa7hachedelara\xa7 in 2024. *Nuances* is \xa7a territory of experimentation at the edge of virtual orchestration\xa7: \xa7all instruments are synthetic\xa7, and the record sets out as an attempt to reach a milestone in creating \xa7orchestral mockups\xa7 with professional production quality. Bare str

1ings, expanded textures, layers of synthesis that breathe slowly, silences that weigh as much as the notes — every harmonic and timbral decision pursues the threshold where the simulated orchestra stops sounding like a simulation.","Together with *Impulses*, the two EPs form a \xa7deliberate diptych\xa7: two sides of the same compositional language that H\xe9ctor consciously separates from the commercial catalogue of \xa7Glocal Sound\xae\xa7. What is published under hachedelara does not respond to commissions or client briefs; it responds to an \xa7expressive need\xa7 that had been accumulating for years behind other people\'s scores, and at the same time to a \xa7technical challenge\xa7: pushing to see how far virtual orchestration can go without a single real instrument in the production chain.",null]},"2024-impulses":{"title":"Impulses","role":"Composition, virtual orchestration, production and distribution","tagline":"EP \xb7 style exercise in new classical language","blocks":["First EP released by \xa7hachedelara\xa7 in 2024, and the first release in which H\xe9ctor signs under his own artistic name, outside the umbrella of Glocal Sound\xae. *Impulses* is a \xa7style exercise\xa7 inscribed in the \xa7new classical\xa7 language — also called *post-classical* or *neo-classical*, an imperfect label for a scene that ranges from \xa7Max Richter\xa7 to \xa7\xd3lafur Arnalds\xa7 by way of \xa7Nils Frahm\xa7 —. Piano, strings, electronics, organic synthesisers: the timbral palette is broad, not purely pianistic.","Like *Nuances*, the EP is also \xa7a territory of experimentation in virtual orchestration\xa7: \xa7all instruments are synthetic\xa7 and the record pursues the edge of \xa7orchestral mockups\xa7 with professional production quality. Free tempo, gentle dynamics, endings that fade without hurry — music that needs no justification before a client nor any adaptation to a choreography. A compositional and technical statement of intent at the same time.",null]},"2024-la-decision-de-joaquina":{"title":"La decisi\xf3n de Joaquina","role":"Original music (sync \xb7 Shiver)","tagline":null,"blocks":["Documentary by \xa7Javier Falc\xf3\xa7 for which H\xe9ctor contributes the original music through the \xa7sync\xa7 catalogue of \xa7Glocal Sound\xae\xa7, reusing the multitrack of *Shiver* (a reference piece from the sync catalogue signed by hachedelara, with echoes of Max Richter and Daniel Hope).","*Credits* — direction, production, camera, editing and sound: \xa7Javier Falc\xf3\xa7. Additional camera and photography: \xa7Ximo Fern\xe1ndez\xa7. Text revision and translation: \xa7Carmen Llorca\xa7, \xa7Pino Tortajada\xa7. Poster and graphic design: \xa7Manuel L\xf3pez\xa7. Music (sync): hachedelara / Glocal Sound\xae.","*Premieres* — 26 September 2024 at Cines LYS in Valencia; 28 October 2024 in Elche (Aula Pla\xe7a de Baix, Universidad Miguel Hern\xe1ndez — UMH); and 15 December 2024 at Cines Embajadores in Madrid."]},"2024-peace-artes-por-valencia":{"title":"Peace — Artes por Valencia","role":"Original music for the piece *Peace* \xb7 donated usage licence","tagline":"Personal contribution to the benefit gala for the DANA disaster","blocks":["October 2024. The \xa7DANA\xa7 devastates Valencia. Two months later, on 19 December, the \xa7Gran Teatro de Elche\xa7 hosts the benefit gala \xa7Artes por Valencia\xa7, a collective evening in which nine companies and conservatoires from the Valencian Community take part. Within that programme, H\xe9ctor and his sister \xa7Sonia Gonz\xe1lez\xa7 contribute their share with a piece created for the occasion: *Peace*.","The choreography is by Sonia Gonz\xe1lez; the original music is a composition by H\xe9ctor for the \xa7SYNC catalogue\xa7 of \xa7Glocal Sound\xae\xa7, which donates the \xa7usage licence\xa7 for the performance. *Peace* works as an emotional canvas for the body and demonstrates that catalogue music — originally conceived for the image — can also serve the stage when urgency calls.","*Credits for the piece Peace* — Choreography and performance: Sonia Gonz\xe1lez (solo). Original music: H\xe9ctor Gonz\xe1lez S\xe1nchez (hachedelara \xb7 Glocal Sound\xae SYNC catalogue, donated usage licence). *Other companies and centres participating in the gala*: \xa7Escuela de Danza Pilar S\xe1nchez\xa7, \xa7C\xeda. Cave Canem\xa7, \xa7C\xeda. Danseuvos\xa7, \xa7C\xeda. Marroch\xa7, \xa7OtraDanza\xa7, \xa7Valencia Dancing Forward\xa7, \xa7REDFOXDanza\xa7, \xa7Conservatorio Profesional de Danza Jos\xe9 Espadero\xa7 (Alicante)."]},"2024-pulse-saudi-arabia":{"title":"Pulse — Saudi Arabia National Day","role":"Composer (via SYNC catalogue)","tagline":"AI video for Saudi Arabia National Day","blocks":["A commission that arrives through an unexpected channel. \xa7Paco Torres\xa7 — a pioneer in the use of \xa7generative AI\xa7 applied to corporate video and audiovisual creativity — and his production company \xa7Lunaaran Media\xa7 produce a commemorative video for \xa7Saudi Arabia National Day\xa7 generated entirely by artificial intelligence, and choose the piece *Pulse* from Glocal Sound\xae\'s SYNC catalogue as the soundtrack. The composition, signed by hachedelara, travels from the studio in Elche to an institutional celebration in the Middle East.","It is one of the first cases in which the SYNC catalogue licensing model works exactly as it was designed: premium instrumental music, available for international audiovisual projects, with no need for bespoke composition. The client chooses, licences and publishes — the composer has no involvement in the visual production.","*Credits* — Direction/production: \xa7Paco Torres\xa7. Production company: \xa7Lunaaran Media\xa7. Music: *Pulse* (SYNC catalogue, Glocal Sound\xae \xb7 hachedelara).",null]},"2024-nebula-sync":{"title":"Nebula","role":"Composer (hachedelara)","tagline":"From French impressionism to the SYNC catalogue — a favourite single","blocks":["One of H\xe9ctor\'s favourite singles. *Nebula* draws directly from the \xa7orchestral tradition of French impressionism\xa7 — the floating timbre of \xa7Debussy\xa7, the vaporous orchestration of \xa7Ravel\xa7 — translated into contemporary writing for a synchronisation catalogue. Modal harmony, woodwind and string textures that dissolve before resolving, extended pedals that suggest more than they assert.","The piece is part of the \xa7SYNC\xa7 catalogue of \xa7Glocal Sound\xae\xa7 signed by hachedelara, inscribed in the cinematic and orchestral language that defines the collection. Since its release it has been licensed for international audiovisual projects, including the commemorative video for \xa7Saudi Arabia National Day\xa7 directed by \xa7Paco Torres\xa7. The title would reappear the following year as the name of the production *N\xe9bula* by \xa7Ballet Dansaires\xa7 at the Gran Teatre d\'Elx — an arc connecting the instrumental work to the family stage.",null]},"2024-shiver-sync":{"title":"Shiver","role":"Composer (hachedelara)","tagline":"Reference piece Max Richter / Daniel Hope","blocks":["Strings that unravel, piano that appears and disappears, a production that breathes cold. *Shiver* is one of the most representative pieces in the \xa7SYNC\xa7 catalogue of \xa7Glocal Sound\xae\xa7, composed by hachedelara within a contemporary neoclassical language that dialogues with the textures of \xa7Max Richter\xa7 and \xa7Daniel Hope\xa7.","The piece quickly proved its versatility: its multitracks were reused as the basis for the soundtrack of Javier Falc\xf3\'s documentary *La decisi\xf3n de Joaquina*, adapting the original material to the film\'s narrative needs without losing the sonic identity of the catalogue.",null]},"2024-euphony-sync-launch":{"title":"Euphony","role":"Composer (hachedelara)","tagline":"Inaugural piece of the SYNC catalogue","blocks":["Every catalogue needs a first gesture, and *Euphony* is it. Composed by hachedelara, this piece inaugurates the \xa7SYNC catalogue\xa7 of \xa7Glocal Sound\xae\xa7, officially launched on \xa715 March 2024\xa7.","With it, the premium boutique licensing model that H\xe9ctor had been designing since the explicit announcement of the \xa7Audio Branding\xa7 division formally begins: author instrumental music, available at four licence levels, conceived for audiovisual and advertising. It is not a standard library — each piece is produced to the same standard as a commissioned work."]},"2023-shenergy-within":{"title":"SHEnergy within","role":"Original music — 30-second promo piece","tagline":"Bespoke sonic suit \xb7 seed piece","blocks":["In November 2023, \xa7SHEnergy within\xa7 — a M\xe1laga-based initiative focused on female empowerment — commissions \xa7Glocal Sound\xae\xa7 to create a \xa730-second promotional piece\xa7 to accompany their \xa7first video\xa7 in the \xa7seed phase\xa7. H\xe9ctor signs the original music: a brief capsule, conceived from scratch for the voice, the rhythm and the founding moment of the brand.","This is not the \xa7first audio branding exercise\xa7 in the studio: any \xa7sonic space design\xa7 or \xa7original commissioned composition\xa7 is, in fact, \xa7brand sound\xa7 — a bespoke narrative layer that strengthens the identity of the project, creator or company for which it sounds —, and H\xe9ctor has been working this way for decades, especially in advertising commissions. What changes in 2022 is the \xa7explicit announcement\xa7: Glocal Sound\xae begins presenting this long-standing craft under the \xa7Audio Branding\xa7 label as a formal B2B division. *SHEnergy within* is one of the first commissions to arrive already framed in those terms from the outside.","In 

1subsequent years the brand evolves into \xa7She WINs\xa7 (*Networking Education for Women*), operational since 2021 in M\xe1laga and now with more than a thousand women in its community and some thirty events organised. Current team: \xa7Agnieszka Fronia\xa7 (founder and *Community Lead*), \xa7Sophia Gruner\xa7 (*Events & Program Lead*), \xa7Monika Bucmyte\xa7 (*Communication & Marketing*) and \xa7Anna Atmis\xa7 (*Partnerships & Sponsorships Lead*).",null]},"2022-nace-hachedelara":{"title":"hachedelara is born","role":"Own artistic name","tagline":"Hache, that is Lara\'s","blocks":["In 2022, H\xe9ctor begins signing as \xa7hachedelara\xa7. Hache, that is \xa7Lara\xa7\'s. The father\'s initial as root; the daughter\'s name as flight. A lifetime of music for others condensed into eleven letters that sound like a lullaby and a navigation chart. It is not a change of course: it is putting a name to the wind that was already blowing, now with a personal project free from commissions. Music in the first person, released under his own label at his own pace.","The language of *hachedelara* sits at a \xa7deliberate crossroads\xa7, with references far broader than what is usually associated with the solo piano: \xa7minimalism\xa7, \xa7new classicism\xa7, \xa7impressionism\xa7, the tradition of \xa7twentieth-century Spanish composers\xa7, \xa7flamenco\xa7 — lived from within after decades working with companies and Flamenco singers —, and a layer of \xa7pop\xa7, \xa7jazz\xa7 and \xa7symphonic rock\xa7 that surfaces in the gestures more than on the surface. Minimalist piano, \xa7orchestral\xa7 elements (strings and chamber ensemble in stripped-back arrangements) and discreet \xa7electronic landscapes\xa7. Not ambient nor pure neoclassical: it is border territory, made of short pieces, warm textures and long silences.","The gesture is also an act of separation: \xa7hachedelara\xa7 lives in parallel to \xa7Glocal Sound\xae\xa7, the production company H\xe9ctor has directed since 2005. One name for commercial and bespoke commissions; the other, the new one, for authored work. Two separate tracks from the same composer, with different audiences, rhythms and objectives — what in the record industry is called, with some humour, *keeping the accounts clean between the craftsman and the artist*.",null,null],"captions":[null,null,null,"hachedelara studio — at the piano."]},"2022-glocal-audio-branding":{"title":"Glocal Sound\xae — Audio Branding Division","role":"CEO \xb7 explicit announcement of the Audio Branding division","tagline":"SYNC Catalogue \xb7 Bespoke \xb7 Academy \xb7 Podcast","blocks":["After six years co-directing \xa7Canciona.com\xa7 — where more than forty thousand personalised songs were produced —, H\xe9ctor returns full-time to \xa7Glocal Sound\xae\xa7 and formalises an \xa7Audio Branding\xa7 division focused on brands and creative professionals. \xa7Glocal Sound\xae\xa7 had always been a B2B studio; what changes in 2022 is the \xa7explicit announcement\xa7 of that vertical under that label. The founding article, *Audio Branding: \xbfc\xf3mo suena tu marca?*, is published in August 2022.","From 2022, \xa7Glocal Sound\xae\xa7 operates as a \xa7bespoke studio\xa7 + \xa7licencing catalogue\xa7 + \xa7training\xa7, with a focus on audiovisual, branding and international performing arts projects.","In parallel, H\xe9ctor moves through the entrepreneurial ecosystem in M\xe1laga: he is selected for the \xa712th edition of Go2Work\xa7 — the accelerator run by the \xa7Escuela de Organizaci\xf3n Industrial (EOI)\xa7 at the \xa7Polo Digital de M\xe1laga\xa7, specialising in the entertainment industry and digital media (September 2022 – February 2023), with modules in \xa7Lean Startup\xa7, \xa7Intellectual Property\xa7, \xa7Lego Serious Play\xa7, audiovisual production, startup negotiation, \xa7Low Code / No Code\xa7 and Media & Entertainment financing —; he delivers a \xa7practical workshop\xa7 for German Erasmus students at a centre in M\xe1laga; and studies as a student at \xa7Telef\xf3nica\'s Campus 42\xa7. Media coverage: \xa7El Espa\xf1ol de M\xe1laga\xa7, an interview on \xa7esRadio\xa7 and \xa7YoDona\xa7. During those same months he also attends the \xa7Digital Enterprise Show 2023\xa7 as a participant, to listen to the industry.","*Current service structure* — \xa7SYNC Catalogue\xa7 (premium instrumental music for licensing, launched in March 2024 with the piece *Euphony*), \xa7Bespoke\xa7 (original music tailored for film, dance, theatre and branding), \xa7Academy\xa7 (mentorship and industry) and \xa7Glocal Sound\xae Podcast\xa7 (five experimental episodes hosted by Diana N\xfa\xf1ez and H\xe9ctor Gonz\xe1lez on the power of sound, on pause since 2024 due to focus on other areas).","Boutique catalogue of premium instrumental music for licensing, officially launched on 15 March 2024 with the inaugural piece *Euphony*. Genres: cinematic, orchestral, piano, electronics, post-classical, immersive electronic landscapes, contemporary orchestral arrangements. Four-level licensing model (Personal / Pro / Premium / Total). Confirmed catalogue titles: Euphony, Nebula, Shiver, Pulse — all composed by hachedelara.","Original music tailored for film, video games, dance, theatre and branding, with a collaborative process and a stable network of producers and engineers. Verified examples of bespoke projects: SHEnergy within (2023), Hilo de Fuego (2025), Peace (2024), c

1oordination of pre-arrangements on Alma (Germ\xe1n L\xf3pez, 2022).","Mentorship and training in the audio/music industry. No published course catalogue yet; it appears in the corporate navigation as a future strategic branch.","Experimental podcast hosted by \xa7Diana N\xfa\xf1ez\xa7 and H\xe9ctor Gonz\xe1lez S\xe1nchez. \xa7Five episodes\xa7 exploring the \xa7power of sound\xa7 and its impact on emotions, brand and everyday life — an immersive experience from inside the craft, with occasional guests —. First episode published: *Pap\xe1, tengo risa en la voz*. Status: on pause due to focus on other areas of the business."]},"2022-exit-canciona":{"title":"Exit from Canciona.com","role":"Sale of shares in Aldo Narejos S.L. \xb7 closing of cycle as Co-CEO","tagline":"~40,000 clients \xb7 ~3M€ accumulated sales \xb7 his great MBA","blocks":["Nearly six years co-leading \xa7Canciona.com\xa7 — the \xa7personalised songs\xa7 platform co-founded with \xa7Aldo Narejos\xa7 —, at the core of an operation that at its peak had \xa7up to 32 people on staff\xa7 and coordinated \xa7between 80 and 100 external collaborators\xa7 (producers, lyricists, singers, designers and other industry profiles). During that period the company served \xa7around 40,000 clients\xa7 worldwide, accumulated \xa7around 3 million euros\xa7 in sales and built a \xa74.9 out of 5\xa7 reputation on \xa7Google\xa7 with \xa7more than 1,500 reviews\xa7.","There are times when partners simply \xa7diverge\xa7. It is like a marriage in which each party begins to see things differently and to want different things, and a moment comes when \xa7the best thing for everyone is to part ways\xa7. To be grateful for everything lived, everything learned, and to tell the other party that it has been a \xa7wonderful adventure\xa7 — and keep walking.","In this case, a \xa7settlement\xa7 was agreed and H\xe9ctor \xa7sold his shares\xa7 in \xa7Aldo Narejos S.L.\xa7 — the company behind \xa7Canciona.com\xa7 — to \xa7Aldo Narejos\xa7 himself, so that he could continue his journey at the helm of the project.","A truly incredible experience — with so many \xa7successes\xa7, \xa7challenges\xa7 and \xa7lessons\xa7. His \xa7great Master in Business Administration\xa7.",null],"captions":[null,null,null,null,"Canciona.com homepage (2021) — *100% personalised songs from €29*."]},"2022-alma-german-lopez":{"title":"Alma","role":"Arranger and pre-arrangement coordinator (remote, from Elche)","tagline":"Produced by Gregg Field (multiple Grammy winner)","blocks":["*Alma* is an album by \xa7Germ\xe1n L\xf3pez\xa7, a timple player from the Canary Islands, produced by \xa7Gregg Field\xa7 — a multiple \xa7Grammy\xa7 winner and historic figure in Los Angeles production, known for his work with \xa7Frank Sinatra\xa7, Ella Fitzgerald, Barbra Streisand, John Williams, Herbie Hancock and Stevie Wonder —, with mixing, mastering and co-production by the \xa7Jeito\xa7 project. H\xe9ctor joins as \xa7arranger\xa7 and \xa7coordinator of the pre-arrangement phase\xa7 on eight tracks of the album: he takes Germ\xe1n\'s first sketches, shapes them and writes \xa7instrumental arrangement proposals\xa7 for drums, percussion, bass, keyboards, piano, flute and other timbres — working alongside co-arrangers \xa7Roman Gottwald\xa7 and \xa7Aitor Antruejo\xa7 — until each piece is ready for the final studio phase. Many of those lines reached the album intact; others were transformed in the session thanks to the art of the \xa7great artists\xa7 who passed through the studios.","The pieces are *Mediterr\xe1neo*, *Afromenco*, *Tanganillos De Oriente*, *La \xdaltima Gota De Caf\xe9*, *Toledo*, *Margullo*, *Faro De Arinaga* and *Pa\' Artenara*. The album features contributions from \xa7Richard Bona\xa7, \xa7Lila Downs\xa7, \xa7Jorge Pardo\xa7, \xa7Josemi Carmona\xa7, \xa7Antonio Serrano\xa7, \xa7Seckou Keita\xa7, \xa7Alain P\xe9rez\xa7, \xa7Israel Su\xe1rez \xabPira\xf1a\xbb\xa7, \xa7Andreas Prittwitz\xa7 and \xa7Tim Ries\xa7, among other major names on the international world music and jazz scene.","Part of the invisible work is \xa7technical\xa7: H\xe9ctor delivers the \xa7Pro Tools sessions aligned to grid\xa7, with all the \xa7reference tracks\xa7 — audio and \xa7MIDI\xa7 — perfectly separated, so that the studio recording experience flows without friction. An \xa7international remote pipeline\xa7 coordinated from Elche: \xa7Roman Gottwald\xa7 works from his home in the mountains, \xa7Aitor Antruejo\xa7 from his studio, the \xa7copyist\xa7 and the scores are transcribed in \xa7Venezuela\xa7, and the final sessions are recorded in the Madrid studio and in Los Angeles. The scope of the contribution is acknowledged in \xa7co-authorship registered with SGAE\xa7 on almost all tracks of the album.",null,"Working with Gregg Field means, in practice, adapting to a US production standard: block sessions, \xa7clearly differentiated roles\xa7 between producer, arranger and musician, decisions made in studio time with a clarity that contrasts with the more organic way of working in stage productions that H\xe9ctor had grown accustomed to during the previous decade. From that experience comes part of the professional muscle with which, years later, he would produce his own albums as \xa7hachedelara\xa7. The album was presented at the \xa7Kennedy Center\xa7 in Washington in November 2022."]},"2018-metodo-ocr":{"title":"The OCR Method is born","role":"Creation of the framework","tagline":"Eye, Heart, Wheel — seeing, deciding and acting with coherence","blocks":["H\xe9ctor begins shaping the \xa7OCR Method\xa7 during his time at the helm of \xa7Canciona.com\xa7, while undertaking \xa7Level 3 (FOCUS)\xa7 of the \xa7Escuela de Nuevos Negocios\xa7 — a programme led by his mentor \xa7Miquel Baixas\xa7, a Spanish pioneer of \xa7million-euro launches\xa7 in online training and the first person to reach \xa7one million euros\xa7 in a single campaign —, a training programme \xa7valued at over 10,000 €\xa7. These are quarterly in-person gatherings in hotels in \xa7Catalonia\xa7, where he shares time with figures from the Spanish-language digital marketing world such as \xa7Maider Tomasena\xa7, \xa7Eli Romero\xa7, \xa7Javier Pastor\xa7, \xa7Javier Elices\xa7 and \xa7Geni Ramos\xa7, among others.","The OCR Method is not a diagnosis: it is the \xa7complete foundation\xa7 for building a sustainable business in the creative sector — music, audiovisual, performing arts, branding — articulated in three stages. \xa7Eye\xa7 — inner and outer gaze (zone of genius, values, ecosystem, tribe) to arrive at a hypothesis for value proposition and positioning. \xa7Heart\xa7 — turning that hypothesis into a \xa7business model MVP\xa7: integrated Canvas, unit economics, narrative, team. \xa7Wheel\xa7 — build, launch, measure, learn and adjust in a continuous Lean Startup cycle. Applicable to creation, business and support. What begins in 2018 as an operational intuition will evolve into the heart of \xa7Glocal Sound\xae Academy\xa7, with the \xa7OCR Portal\xa7 as the entry point (initial diagnosis), a personalised \xa7AI Assistant\xa7 and an MBA that teaches it in depth."]},"2017-sintempo-sara-cano":{"title":"SinTempo","role":"Original music","tagline":null,"blocks":["\xa7Sara Cano\xa7 returns to H\xe9ctor after *A palo seco* for *SinTempo*, a solo stage piece that premieres on \xa730 September 2017\xa7.","According to her own conception, the choreographer seeks \xa7\xaban anachronistic dance, made of pasts, presents and futures, a dance outside time… simply personal\xbb\xa7, situated \xa7halfway between the visceral quality of \xa7Spanish dance\xa7 and the conceptual approach of \xa7contemporary dance\xa7 — the two languages that coexist in her way of dancing —.","The original music is a \xa7co-authorship\xa7: \xa7H\xe9ctor Gonz\xe1lez S\xe1nchez\xa7 signs the composition alongside \xa7Sandra Carrasco\xa7 — voice — and \xa7V\xedctor Guadiana\xa7 — violins —, both also recorded performers of the sound material. \xa7Jorge D\xedaz\xa7 signs the sound design; \xa7Gloria Montesinos\xa7 the lighting; \xa7Elisa Sanz\xa7 the set design and costumes.","Over the lyrics of \xa7*La Leyenda del Tiempo*\xa7 by \xa7Federico Garc\xeda Lorca\xa7, the team constructs a \xa7deconstructed version\xa7 with \xa7completely new\xa7 music and melody — nothing of Camar\xf3n\'s framework, everything rewritten from scratch. H\xe9ctor expands the sonic landscape with recordings of \xa7old printing presses\xa7 and \xa7slide projector machines\xa7, concrete materials that he deploys as \xa7no-times\xa7: passages that read as workshop noise and that sometimes become intensely rhythmic."]},"2016-cofundador-canciona":{"title":"Co-founder of Canciona","role":"COO (2016-2021), CIO (2016-2022), Co-CEO (2021-2022)","tagline":"From 2 to 32 people, +€3M cumulative revenue","blocks":["Canciona.com, incorporated under \xa7Aldo Narejos S.L.\xa7, was born from a simple question: can you give a custom-made song as a gift, the way you give a bouquet of flowers? The answer becomes a \xa7personalised musical composition and production service\xa7 at industrial scale, with an operation spanning digital marketing, remote production and delivery logistics for meaningful dates (weddings, anniversaries, birthdays).","H\xe9ctor joins as \xa7co-founder\xa7 and takes on the roles of \xa7COO\xa7 (2016-2021) and \xa7CIO\xa7 (2016-2022). In the final stage, now as \xa7Co-CEO\xa7, he leads the founding team through the close of his \xa7nearly six-year cycle\xa7 at the helm of the project: designing from scratch the company\'s information-systems architecture —CRM, marketing, sales, operations, customer service and legal— entirely using \xa7no-code\xa7 technologies. The decision is strategic: it enables rapid iteration, keeps costs low and allows scaling without an in-house engineering team.","Between 2016 and 2022, Canciona \xa7grows from 2 to 32 full-time staff\xa7, coordinates more than \xa7100 external 

1collaborators\xa7 and delivers more than \xa740,000 personalised songs\xa7 to clients in Spain and Latin America. The average Google rating reaches \xa74.9 out of 5\xa7 with more than 1,500 reviews (April 2022), and cumulative revenue exceeds \xa7three million euros\xa7. It is, to date, the most ambitious business project in H\xe9ctor\'s career, and proof that personalised music can work as a recurring service without losing artisanal quality."]},"2016-habitat-daniel-dona":{"title":"H\xe1bitat","role":"Original music and sound-space design","tagline":"Premio El Ojo Cr\xedtico de Danza 2016","blocks":["*H\xe1bitat* is the piece with which \xa7Daniel Do\xf1a\xa7 establishes himself as one of the most distinctive voices in contemporary Spanish dance. H\xe9ctor signs the \xa7original music\xa7 and the \xa7sound-space design\xa7 —alongside \xa7Alfredo Valero\xa7 and \xa7David V\xe1zquez\xa7, performer-composers— a work that is especially attentive to texture, as the choreography explores the idea of *habitat* as a vital and emotional environment rather than a physical space.",null,"The premiere takes place on \xa717 September 2016\xa7 at the \xa7Teatros del Canal\xa7 in Madrid, opening that year\'s \xa7Festival Internacional Madrid en Danza\xa7, under the direction of \xa7Jordi Vilaseca\xa7. On stage, Do\xf1a dances alongside \xa7Cristian Mart\xedn\xa7, Alfredo Valero and David V\xe1zquez. Months later, the piece is awarded the \xa7Premio El Ojo Cr\xedtico de Danza 2016\xa7 —one of the most relevant emerging recognition prizes in the sector in Spain, granted by Radio Nacional de Espa\xf1a— confirming Do\xf1a as a central figure of his generation."]},"2016-bush-bailando-pepa-molina":{"title":"Bush Bailando","role":"Electroacoustic compositions and sound-space design","tagline":"World premiere in Sydney, Australia","blocks":["Sydney, May 2016. At the \xa7Riverside Parramatta\xa7, *Bush Bailando* premieres — a piece by \xa7Pepa Molina\xa7 for which H\xe9ctor signs the electroacoustic compositions and the sound-space design. The \xa7sound space\xa7 is built from \xa7real sounds of the Australian bush\xa7 —recorded and processed into the composition— a layer that physically connects flamenco with the landscape that hosts it. Three performances, from 5 to 7 May, transposing flamenco into the Australian landscape — a geographical crossing as improbable as it is revelatory.","The Australian critical response is clear: *Bush Bailando* receives the \xa7Most Interesting Australian Group or Artist 2016\xa7 award from \xa7Critics Choice Dance Australia\xa7 and earns two nominations at the \xa72017 Australian Dance Awards\xa7 — for Outstanding Achievement in Independent Dance and for Outstanding Performance by a Female Dancer. For H\xe9ctor, the collaboration with Molina — who had already been part of the *13 Rosas* cast years earlier — extends his map of stages to the antipodes."]},"2016-vanished-dream":{"title":"The Vanished Dream","role":"Original score","tagline":"Richard Leacock Award \xb7 Las Palmas Festival","blocks":["A documentary needs music that does not compete with the images but sustains them. H\xe9ctor composes the original score for *The Vanished Dream*, directed by \xa7Juan S. Betancor\xa7 and \xa7V\xedctor Giner\xa7 for \xa7Siddhartha Films\xa7, and finds that balance: a score at the service of a story that admits no sonic excess.","The film, released in 2016, travels the international festival circuit with significant recognition: the \xa7Richard Leacock Award\xa7 at the \xa7Las Palmas International Film Festival\xa7 and the best documentary prize at the \xa7African Film Festival of Dallas\xa7. With Betancor, H\xe9ctor also signs the immersive \xa7Honda\xa7 showcase for \xa7Christie\xae\xa7 (2015) — two projects, both concluded.",null]},"2016-diana-navarro-yo-me-voy-a-querer":{"title":"Yo me voy a querer","role":"Co-authorship \xb7 part of the composition (seed)","tagline":"From the album Resiliencia","blocks":["\xa7Diana Navarro\xa7 calls H\xe9ctor to get together and improvise around some \xa7ideas\xa7 she had been recording on her phone. She sends them over and they meet one day at \xa7H\xe9ctor\'s home in Madrid\xa7: \xa7grand piano\xa7, \xa7synthesisers\xa7 and her. H\xe9ctor records the session, tidies the audio slightly, tries \xa7putting it on click\xa7 and \xa7re-harmonising\xa7 s

1ome takes — a quick sketch, just a few hours of work — and sends it back to her.","Both \xa7got wrapped up in other projects\xa7. Some time later, Diana tells him that one of those ideas has \xa7taken shape\xa7 for the new album, largely thanks to \xa7I\xf1aki Garc\xeda\xa7, her regular pianist. She calls him to give him \xa7his share in the registration\xa7. The track is credited with \xa7authorship to Diana Navarro\xa7 with \xa7co-compositions\xa7 by \xa7Carlos Vera\xa7, \xa7I\xf1aki Garc\xeda\xa7, \xa7Paco Salazar\xa7 and \xa7H\xe9ctor Gonz\xe1lez S\xe1nchez\xa7. H\xe9ctor loved the final result, in which he played no further part.",null,null],"captions":[null,null,null,"YouTube credits — authorship credited to Diana Navarro + co-composition by Carlos Vera, H\xe9ctor Gonz\xe1lez, I\xf1aki Garc\xeda and Paco Salazar."]},"2016-materia-cristian-martin-cano":{"title":"Materia","role":"Original music, sound-space design \xb7 lyrics","tagline":null,"blocks":["*Materia (Redux)*, a choreographic piece by \xa7Cristian Mart\xedn Cano\xa7, is built entirely on a \xa7ca\xf1a\xa7 — a flamenco form. H\xe9ctor signs the \xa7original music\xa7, the \xa7lyrics\xa7 and the \xa7sound-space design\xa7; \xa7Juan Debel\xa7 provides the flamenco singing.","The production combines \xa7contemporary electronic base\xa7, \xa7percussion\xa7, a small \xa7orchestra of Venezuelan cuatros\xa7 played \xa7like bandurrias with a plectrum\xa7 by H\xe9ctor himself —many superimposed layers to build the texture— and \xa7electric guitar\xa7 on his \xa7Fender Telecaster\xa7.",null]},"2015-red-bull-bc-one-titanium":{"title":"Red Bull BC One — Titanium Live","role":"Composer — music synchronisation","tagline":"Western Europe Final \xb7 Teatro Circo Price \xb7 global streaming","blocks":["On 4 October 2015, at the \xa7Teatro Circo Price\xa7 in Madrid, the \xa7Red Bull BC One Western Europe\xa7 final takes place — the \xa7break dance\xa7 championship for western Europe. Between showcases, a segment from *Titanium* by \xa7Rojas y Rodr\xedguez\xa7 —with original music by H\xe9ctor— opens a parenthesis of \xa7flamenco mixed with urban dance\xa7 (hip-hop and break dance) in the middle of the b-boys\' night.","The piece is broadcast in \xa7global streaming\xa7 via Red Bull TV — probably the largest simultaneous audience H\xe9ctor\'s music has ever reached. The only drawback: on that day it was not possible to have the four live musicians, so the recorded version had to be used.","It is the \xa7first time\xa7 H\xe9ctor signs a \xa7synchronisation contract\xa7 with a \xa7multinational\xa7 of this scale — and the contract itself was equally significant: a \xa7dense, meticulous, textbook\xa7 document that sets the level of formality to which all of Glocal Sound\xae\'s sync work would aspire from that point on."]},"2015-cuatro-estaciones-teresa-nieto":{"title":"Las 4 estaciones","role":"Original music and sound-space design","tagline":null,"blocks":["There are artistic relationships that work like a river: they flow without needing explanation. H\xe9ctor\'s relationship with \xa7Teresa Nieto en Compa\xf1\xeda\xa7 is one of them. *Las 4 estaciones* adds another chapter to a collaboration that starts with *De Cabeza* and its two Max Awards, continues through *Tacita a Tacita* and its four additional Max Awards, and extends across more than a decade of joint scenic creations.","H\xe9ctor signs the original music and the sound-space design for this new production. By this point, the understanding between the two is almost telepathic: the choreographer knows what the composer can deliver, and the composer knows what the stage needs before being asked.","*Las 4 estaciones* turns out to be the \xa7last production\xa7 of \xa7Teresa Nieto\xa7: in 2015 she retires from the stage after \xa725 years\xa7 at the helm of *Teresa Nieto en Compa\xf1\xeda* —launched in 1990 with \xa7Danza Breve\xa7— in the world of \xa7contemporary Spanish dance\xa7. Five years later, in \xa72020\xa7, the Ministry of Culture awards her the \xa7Gold Medal for Merit in the Fine Arts\xa7."]},"2015-a-palo-seco-sara-cano":{"title":"A palo seco","role":"Original music (with Alberto Funes) and sound-space design","tagline":"Full-length ver

1sion of the solo that, in its short version, had won the XXIII Certamen Flamenco de Madrid in 2014","blocks":["In 2015, \xa7Sara Cano\xa7 premieres the \xa7full-length version\xa7 of *A palo seco*. The original short piece had been entered in 2014 at the \xa7XXIII Certamen de Danza Espa\xf1ola y Flamenco de Madrid\xa7, where it received the \xa7Premio a la Mejor Composici\xf3n Musical\xa7 for Spanish Dance, shared between H\xe9ctor and \xa7Alberto Funes\xa7. With the arrival of this 2015 full-length version, the \xa7award-winning short version\xa7 became retroactively known as *A palo seco (Redux)*. H\xe9ctor and Alberto Funes retain \xa7co-authorship\xa7 of the music in both versions.","*Credits* — artistic direction, choreography and performer: \xa7Sara Cano\xa7. Stage direction: \xa7Teresa Nieto\xa7. Original music: H\xe9ctor Gonz\xe1lez S\xe1nchez and \xa7Alberto Funes\xa7 (co-authorship). Voice and vocal arrangements: \xa7Alberto Funes\xa7. Pre-existing music: \xa7Al\xe9ix Tob\xedas\xa7 (Coetus). Lighting: \xa7Gloria Montesinos\xa7 (A.a.i.). Costume design: \xa7Elisa Sanz\xa7; costume construction: \xa7Mayka Chamorro\xa7, \xa7Dolores Dur\xe1n\xa7, \xa7Mar\xeda Calder\xf3n\xa7. Production assistant: \xa7David Arrabal\xa7. Distribution: \xa7Elena Santonja\xa7 (ESMANAGEMENT). Graphic design and photography: \xa7marcosGpunto\xa7."]},"2015-la-extranjera":{"title":"La extranjera","role":"Original electroacoustic music and sound-space design","tagline":null,"blocks":["*La extranjera* is \xa7La T\xedpica\xa7\'s \xa7tribute\xa7 to Chilean writer and poet \xa7Gabriela Mistral\xa7 on the \xa770th anniversary\xa7 of her \xa7Nobel Prize in Literature\xa7 (1945). The piece draws on the poems \xa7*Pa\xeds de la ausencia*\xa7 and \xa7*La extranjera*\xa7 to explore \xa7emigration\xa7, \xa7displacement\xa7 and \xa7desolation\xa7, weaving in parallel the biography of Mistral with the choreographer \xa7Natalia Garc\xeda-Huidobro\xa7\'s own experience as an immigrant.","The piece is presented first in \xa7Madrid\xa7 (Teatro del \xa7Conde Duque\xa7, 16–17 October 2015) and then premieres in \xa7Chile\xa7 at the \xa7Centro Gabriela Mistral\xa7 (GAM) in Santiago in December of the same year. It has the institutional support of the \xa7Fundaci\xf3n Chile-Espa\xf1a\xa7, the \xa7GAM\xa7 and the \xa7Embassy of Chile in Spain\xa7. La T\xedpica \xa7assigns all copyright\xa7 of the work to the Franciscan order in Chile, in favour of the children of Montegrande and Chile.","H\xe9ctor signs the \xa7original electroacoustic music\xa7 and the \xa7sound-space design\xa7 from a distance, co-existing with the compositions of the trio \xa7Claudio Villanueva\xa7, \xa7Juli\xe1n Herreros\xa7 and \xa7Francisco Delgado\xa7 — a transoceanic project in which his score travels before he does. The project extends his map of international stages towards \xa7Latin America\xa7: until then his works had reached Europe (Paris, Antwerp, Helsinki, Edinburgh, Budapest) and North America (New York, Vancouver); with Chile a new geographical axis opens for his stage music."]},"2015-no-pausa-daniel-dona":{"title":"No pausa","role":"Original music and sound-space design","tagline":null,"blocks":["Third consecutive project with \xa7Daniel Do\xf1a\xa7. After *A Pie* and *<<REW*, comes *No pausa* — and with it, evidence that a shared vocabulary has been established between composer and choreographer. H\xe9ctor signs the original music and the sound-space design.","The piece functions as a necessary link in a chain that would culminate the following year with *H\xe1bitat*, winner of the \xa7Premio El Ojo Cr\xedtico de Danza 2016\xa7. Each collaboration with Do\xf1a has been one more step towards a refined scenic language, where music does not illustrate the dance but builds it from within.",null]},"2015-alimentos-de-la-rioja":{"title":"Alimentos de La Rioja","role":"Original music — advertising campaign","tagline":null,"blocks":["Not everything is contemporary dance and international festivals. H\xe9ctor composes the original music for the advertising campaign for \xa7Alimentos de La Rioja\xa7, produced by \xa7La Rioja Capital TV\xa7 and \xa7Pulsoniq S.L.\xa7 — a commission where the music serves the product, the territory and the language of television advertising.","The shift in register is notable: from the electroacoustic textures for *La extranjera* at the GAM in Santiago to a campaign that needs warmth, intimacy and instant recognisability. Versatility is not an ornament on the CV; it is a necessity for a composer who keeps several lines of work running simultaneously.",null]},"2015-honda-showcase":{"title":"Honda Showcase","role":"Original music — advertising campaign","tagline":null,"blocks":["\xa7Christie\xae\xa7 and \xa7Siddhartha Films\xa7 produce an immersive audiovisual showcase for \xa7Honda\xa7, with \xa7Juan Betancor\xa7 directing. H\xe9ctor composes the original music — a piece that functions as an enveloping sonic landscape rather than a conventional film score.","With Betancor, H\xe9ctor also signs the score for the documentary *The Vanished Dream* (2016); here the work moves into the territory of international corporate advertising. A different register from the documentary, but with the same demand: music that does not distract, that amplifies the image without competing with it.",null]},"2015-el-man-sur":{"title":"El Man Sur","role":"Recording engineer — piano and ke

1yboards","tagline":null,"blocks":["In the studio you learn as much as on stage. H\xe9ctor works as recording engineer for piano and keyboards on *El Man Sur*, a recording project by \xa7Eliseo Parra\xa7 and \xa7Eduardo Laguillo\xa7 released by \xa7Nuba Records\xa7.","It is a technical role, not a creative one — capturing the sound, not composing it — but it reflects the other side of H\xe9ctor\'s activity: the studio professional who knows how to place a microphone, adjust levels and understand the needs of a musician on the other side of the glass. A skill that feeds, in parallel, his work as a producer on his own projects.",null,null]},"2014-claroscuro":{"title":"Claroscuro","role":"Original music and sound-space design","tagline":"Premiered by the Royal Ballet of Flanders in Antwerp","blocks":["Antwerp, Belgium. The \xa7Royal Ballet of Flanders\xa7 — one of the most important ballet companies in Europe — premieres *Claroscuro*, a piece by \xa7Altea N\xfa\xf1ez\xa7 with original music and sound-space design by H\xe9ctor. The short version is presented on 4 December 2014; the extended version runs from 19 to 27 September 2015.","The piece is born within \xa7Choreolab\xa7, the choreographic platform of the Royal Ballet of Flanders. Upon seeing the result, artistic director \xa7Sidi Larbi Cherkaoui\xa7 invites N\xfa\xf1ez to develop it into an extended format for the company\'s seasons. The leap is significant: from the independent venues of the Spanish circuit to a Flemish institution in northern Europe, bringing H\xe9ctor\'s music into a production context and technical standard proper to European classical ballet."]},"2014-efimera-premio":{"title":"Best Original Score — Ef\xedmera","role":"Award","tagline":null,"blocks":["Film awards arrive with a delay — the festival circuit has its own rhythms. In 2014, the score for *Ef\xedmera* by \xa7Diego Modino\xa7 receives the \xa7Best Original Score Award\xa7 at the \xa7V Festival de Cine de Castilla-La Mancha\xa7, adding another recognition to a short film that had already been a finalist at the \xa7Festival International du Film d\'Aubagne\xa7 (France, 2012).","For H\xe9ctor, the award confirms something experience had already taught him: music for image has a life of its own, independent of the premiere. A score composed in 2012 keeps collecting recognition two years later, while its author is already immersed in other projects."]},"2014-a-palo-seco-premio":{"title":"Best Composition Award — A Palo Seco","role":"Award (shared with Alberto Funes)","tagline":null,"blocks":["The \xa7XXIII Certamen de Coreograf\xeda de Danza Espa\xf1ola y Flamenco de Madrid\xa7 awards the \xa7Premio a la Mejor Composici\xf3n Musical\xa7 to *A Palo Seco* by \xa7Sara Cano\xa7, shared between H\xe9ctor and \xa7Alberto Funes\xa7. In 2014 the piece is entered in its \xa7short version\xa7 — the one that later, with the arrival of the full-length version in 2015, would come to be known retroactively as *A palo seco (Redux)*. A recognition that comes from the heart of institutional flamenco and validates the hybrid approach — contemporary composition in the service of the flamenco body — that both had developed for the piece."]},"2014-candidatura-max-a-pie":{"title":"Max Award Nomination — Best Musical Composition","role":"Work: A pie, by Daniel Do\xf1a (with Jos\xe9 Luis L\xf3pez)","tagline":null,"blocks":["Nomination for \xa7Best Musical Composition\xa7 at the XVII edition of the \xa7Max Awards for the Performing Arts\xa7 for the work *A pie* by \xa7Daniel Do\xf1a\xa7, shared with \xa7Jos\xe9 Luis L\xf3pez\xa7. The nomination confirms H\xe9ctor\'s recurring presence at the Max Awards — the most prestigious recognition of the performing arts in Spain."]},"2013-titanium":{"title":"Titanium","role":"Original music, production and musical direction","tagline":"Best Dance Production 2013 — El Pa\xeds \xb7 international tour","blocks":["*Titanium* is the most ambitious project of \xa7Rojas y Rodr\xedguez\xa7 to date: a piece that \xa7fuses flamenco, hip hop and break dance\xa7 as if they were three dialects of the same bodily language. H\xe9ctor signs the composition, musical direction, arrangements, production and sound-space design. The musical bet is radical: electronic percussion, drum machines, traditional flamenco, orchestral elements and scratch seeking the \xa7exact proportion\xa7 so that flamenco does not dominate the break, nor the urban beat dominate the flamenco. A piece that \xa7belongs to no canon\xa7 but works in all of them.",null,"Premiered on \xa715 June 2013\xa7 at the \xa7Teatros del Canal\xa7 in Madrid, the piece is chosen that same year as \xa7Best Dance Production\xa7 by the newsp

1aper *El Pa\xeds*. Over the following years, *Titanium* embarks on an \xa7international tour\xa7 with stops in \xa7London\xa7 (Peacock Theatre, May 2015), \xa7Budapest\xa7 and \xa7Istanbul\xa7, with institutional support from the Embassy of Spain in some venues.",null,"Live, \xa7Karo Sampela\xa7 (drums), \xa7Paco Cruz\xa7 (guitar), \xa7Roman Gottwald\xa7 (piano, keyboards and violin) and \xa7Juan Debel\xa7 (flamenco singing) performed over the \xa7sequences\xa7 and \xa7click\xa7 that H\xe9ctor distributed to in-ears from the booth. On the score, recorded choir vocals by \xa7Alana Sinkey\xa7. (Full credits in the technical and artistic sheet below.)"]},"2013-tacita-a-tacita-premios-max":{"title":"4 Max Awards for Tacita a Tacita","role":"Original compositions, music production, sound-space design","tagline":"Max Awards for the Performing Arts","blocks":["Four \xa7Max Awards for the Performing Arts\xa7 for a single piece. *Tacita a Tacita*, a creation by \xa7Teresa Nieto en Compa\xf1\xeda\xa7 celebrating the company\'s 20th anniversary, becomes the most decorated work in which H\xe9ctor has participated as composer. Premiered on 10 November 2010 at the \xa7Teatros del Canal\xa7 as part of the \xa7XXV Festival Internacional Madrid en Danza\xa7, the recognition arrives in 2013.","Three years after the premiere (10 Nov 2010), the \xa7XVI edition of the Max Awards\xa7 honours the piece with four prizes: \xa7Best Dance Production\xa7, \xa7Best Choreography\xa7 (Teresa Nieto), \xa7Best Female Dance Performer\xa7 (Teresa Nieto) and \xa7Best Male Dance Performer\xa7 (Manuel Li\xf1\xe1n). For H\xe9ctor\'s career as a composer, it is the highest concentration of institutional recognition in a single work. The composition details, sound-space design and full premiere cast are in the premiere node (2010).",null,null],"captions":[null,null,"Official screenshot XVI Max Awards — *Tacita a Tacita* wins Best Dance Production.","Official screenshot XVI Max Awards — *Tacita a Tacita* wins Best Choreography (Teresa Nieto)."]},"2013-candidatura-max-amor-brujo":{"title":"Finalist Max Awards — El Amor Brujo","role":"Production: El Amor Brujo, Rojas y Rodr\xedguez — finalist for Best Dance Production \xb7 nominee for Best Musical Direction","tagline":null,"blocks":["*El Amor Brujo* by \xa7Rojas y Rodr\xedguez\xa7 —with \xa7Antonio Canales\xa7 in the cast— has a double presence at the \xa7XVI Max Awards\xa7: \xa7finalist for Best Dance Production\xa7 and \xa7nominee for Best Musical Direction\xa7 in H\xe9ctor\'s name, for the production premiered at \xa7San Lorenzo del Escorial\xa7 the previous year.",null],"captions":[null,"Screenshot from the XVI Max Awards Gala — *El Amor Brujo* by Rojas & Rodr\xedguez, shortlisted for Best Dance Production. On screen, \xa7Antonio Canales\xa7 in the cast."]},"2013-candidatura-max-de-una-pieza":{"title":"Max Award Nomination — Best Musical Composition","role":"Production: De una pieza, Olga Pericet (with Javier Patino and Jos\xe9 \xc1ngel Carmona)","tagline":null,"blocks":["H\xe9ctor\'s first nomination at the \xa7Max Awards\xa7 for \xa7Best Musical Composition\xa7 —in the same XVI edition in which he is also a candidate for Best Musical Direction for *El Amor Brujo*—, for *De una pieza* by \xa7Olga Pericet\xa7, shared with \xa7Javier Patino\xa7 and \xa7Jos\xe9 \xc1ngel Carmona\xa7. H\xe9ctor\'s contribution to the piece is \xa7*Ambient*\xa7 —a composition \xa7recorded for the occasion\xa7, integrated as recorded music within the production—; the \xa7original music\xa7 performed live is signed by Carmona and \xa7Antonia Jim\xe9nez\xa7. The Max nomination groups the composers whose music is heard on stage, which is why H\xe9ctor enters the shortlist. The next one, in the same category, would come the following year with *A pie* by Daniel Do\xf1a."]},"2013-max-in-memoriam-antonio-gonzalez-beltran":{"title":"In memoriam — Antonio Gonz\xe1lez Beltr\xe1n","role":"Tribute to deceased professionals \xb7 XVI Max Awards Gala","tagline":"H\xe9ctor\'s father, founder of La Car\xe1tula, remembered at the gala","blocks":["\xa7Antonio Gonz\xe1lez Beltr\xe1n\xa7 —H\xe9ctor\'s father, founder of the company \xa7La Car\xe1tula\xa7 of \xa7Elche\xa7 and a key figure in Ilicitan theatre— passes away in \xa72013\xa7. That same spring, the \xa7XVI Max Awards Gala\xa7 pays tribute to him in the *in memoriam* section dedicated to performing arts professionals who died that year.","The 2013 edition was intense on a personal level: the production bearing H\xe9ctor\'s signature most recognised throughout his entire career —*Tacita a Tacita* with \xa7four Max Awards\xa7— and two additional nominations with *De una pieza* and *El Amor Brujo*, while at that same gala his father was being remembered. A symbolic density that is difficult to reduce to two sentences."]},"2013-nomada-manuel-linan":{"title":"N\xf3mada","role":"Soundscape design and music production","tagline":null,"blocks":["\xa7Manuel Li\xf1\xe1n\xa7 does not make conventional flamenco. He twists it, questions it, holds it up to a mirror. For *N\xf3mada*, the dancer and choreographer relies on H\xe9ctor for soundscape design and music production — a commission that demands a particular sensibility, because the piece is not looking for accompaniment but for tension.","The collaboration places H\xe9ctor in the orbit of the most avant-garde flamenco. Li\xf1\xe1n is one of the most daring figures of his generation, and working with him means accepting that the music can be questioned, interrupted or contradicted by the body at any moment during the performance."]},"2013-contigo-altea-nunez":{"title":"Contigo","role":"Original music and soundscape design","tagline":null,"blocks":["Belgium enters the map. *Contigo* is \xa7Altea N\xfa\xf1ez\xa7\'s \xa7first choreographic work\xa7, created within \xa7Choreolab\xa7 —the annual choreographic platform of the \xa7Royal Ballet of Flanders\xa7— in \xa7Antwerp\xa7 in 2013. A \xa7duo\xa7 for two Spanish dancers, \xa7Cristina Casa\xa7 and \xa7Ion Aguirretxe\xa7 —a real couple in the company at the time—, which gives the piece an intimate subtext: two bodies who already know each other offstage searching for a choreography that does not conceal that history.","H\xe9ctor signs the \xa7original music\xa7 and \xa7soundscape design\xa7. The piece opens a European axis that the following year would give rise to *Claroscuro* —also with N\xfa\xf1ez and the Royal Ballet of Flanders, outside Choreolab and on a more ambitious scale—.",null]},"2013-el-ajuar-teresa-nieto":{"title":"El ajuar","role":"Original music and soundscape design","tagline":null,"blocks":["Another call from \xa7Teresa Nieto en Compa\xf1\xeda\xa7, another score. *El ajuar* joins a list that by now speaks for itself: *Tacita a Tacita* (four Max Awards), *De Cabeza* (two Max Awards), *Pet\xed Comit\xe9*, *Al mal tiempo buena cara*. H\xe9ctor signs the original music and soundscape design.","In a career where collaborators change from project to project, the continuity with Nieto is the exception. Each new piece picks up where the previous one left off, with a shared language that no longer needs prior explanation.",null,null,null],"captions":[null,null,"Photo: Pedro Arnay","Photo: Pedro Arnay","Photo: Pedro Arnay"]},"2013-a-pie-daniel-dona":{"title":"A Pie","role":"Music production, design and original music","tagline":null,"blocks":["Beginnings matter. *A Pie* is the first collaboration with \xa7Daniel Do\xf1a\xa7, and what begins as a one-off commission — music production, soundscape design and original music — will become one of the most productive partnerships of H\xe9ctor\'s career.","The piece would lead to a nomination for \xa7Best Musical Composition\xa7 at the \xa7Max Awards\xa7 and would open a line of work that would pass through *No pausa*, *<<REW* and culminate in *H\xe1bitat*, winner of the \xa7Premio El Ojo Cr\xedtico de Danza 2016\xa7. It all starts here, with a young choreographer and a composer who speak the same language without yet knowing it."]},"2013-alicia-dansaires":{"title":"Alicia en el pa\xeds de las maravillas","role":"Composer and music producer","tagline":null,"blocks":["Coming home carries its own weight. \xa7Dansaires\xa7 presents *Alicia en el pa\xeds de las maravillas* at the \xa7Gran Teatro de Elche\xa7 — the same venue that years earlier had lent its space to film the promotional video for *Kybalion (The Concert)* alongside \xa7Ara Malikian\xa7 and \xa7Jorge Pardo\xa7 —, and he signs the composition and music production.","The commission connects with the family root: Dansaires is the company of the Escuela de Danza Pilar S\xe1nchez, founded by his mother in 1972. Composing for it means working for the ecosystem where everything began, but now with the tools of a professional who has spent a decade signing scores in Madrid, New York and Paris."]},"2012-palpito-ny-city-center":{"title":"P\xe1lpito","role":"Original composition, direction, music production, soundscape design","tagline":"Premiere at New York City Center","blocks":["*P\xe1lpito* is a production by \xa7Barcelona Ballet\xa7 —the company founded by \xa7\xc1ngel Corella\xa7, principal dancer at American Ballet Theatre for two decades— for its presentation in the United States. The premiere takes place on \xa717 April 2012\xa7 at the \xa7New York City Center\xa7, one of the world\'s leading classical ballet venues.","H\xe9ctor signs the \xa7original composition\xa7, \xa7musical direction\xa7, \xa7production\xa7 and \xa7soundscape design\xa7. The piece also incorporates the special collaborations of \xa7Diana Navarro\xa7 and \xa7Montse Cort\xe9s\xa7 —two well-known flamenco voices— integrating a vocal layer into a production that otherwise rests on contemporary ballet. It is, until then, one of the first major international showcases for a 

1work with his soundtrack.","The *New York Post* covers the premiere with enthusiasm; *ABC*, from Spain, follows Corella\'s production closely. The day after the premiere, H\xe9ctor appears briefly in the New York press associated with a European production that creates a dialogue between classical ballet and flamenco tradition — a crossover that, in those years, begins to define much of his signature as a stage composer.","*Credits* — production: \xa7Barcelona Ballet\xa7 (dir. \xa7\xc1ngel Corella\xa7). Original composition, musical direction, music production and soundscape design: H\xe9ctor Gonz\xe1lez S\xe1nchez. Special vocal collaborations: \xa7Diana Navarro\xa7 and \xa7Montse Cort\xe9s\xa7. Premiere: New York City Center, 17 April 2012."]},"2012-finalista-aubagne-efimera":{"title":"Finalist for Best Composition — Ef\xedmera","role":"Finalist — Best Composition","tagline":"Soundtrack of *Ef\xedmera* (Diego Modino) in the French circuit","blocks":["The soundtrack of *Ef\xedmera*, the short film by \xa7Diego Modino\xa7, is a \xa7finalist for Best Composition\xa7 at the \xa7XII Festival International du Film d\'Aubagne\xa7 (France, 2012). Aubagne, specialised in \xa7music for film\xa7, is one of the leading European competitions for soundtrack composers — the finalist placement in that category puts H\xe9ctor\'s work on the radar of the French independent film circuit.","It is the \xa7first international recognition\xa7 of the *Ef\xedmera* soundtrack. Two years later, the same score would receive the \xa7Best Music Award\xa7 at the \xa7V Festival de Cine de Castilla-La Mancha\xa7 (FECICAM, 2014). The short film, in parallel, would go on to accumulate \xa764 awards\xa7 and \xa7200 selections\xa7 in \xa745 countries\xa7, with a \xa7shortlist\xa7 for the \xa7XXVIII Goya Awards\xa7 (Spanish Film Academy)."]},"2012-efimera-diego-modino":{"title":"Ef\xedmera","role":"Composition, musical direction, production, piano, programming","tagline":"64 awards \xb7 200 selections \xb7 45 countries \xb7 Goya shortlist 2014","blocks":["*Ef\xedmera* is a short film by \xa7Diego Modino\xa7 produced by \xa7Philantiq Films\xa7. Official synopsis: \xa7\xabAlicia\'s journey to fulfill her dream of becoming a ballet dancer will take her from a candid world to a violent reality\xbb\xa7. The premiere takes place on \xa77 May 2012\xa7 at \xa7CINESA Proyecciones\xa7, Madrid.","H\xe9ctor signs the \xa7film composition\xa7, \xa7musical direction\xa7, \xa7production\xa7, \xa7piano\xa7 and \xa7programming\xa7 of the soundtrack.",null,"The short film accumulates \xa764 awards\xa7 and more than \xa7200 selections\xa7 in \xa745 countries\xa7, and was \xa7shortlisted\xa7 for the \xa7XXVIII Goya Awards\xa7 (Spanish Film Academy). Among the prizes, standouts include the \xa7First Grand Prize\xa7 at the \xa7Busan International Short Film Festival\xa7 (South Korea), the \xa7Grand Jury Prize\xa7 at the \xa724fps Int\'l Short Film Festival\xa7 (USA), the \xa7Special Jury Award\xa7 at \xa7WorldFest Houston\xa7, the \xa7Best Art Direction\xa7 at the \xa7Festival de Cine de Gij\xf3n\xa7 (2012 — Oscar qualifier), the \xa7Best Director\xa7 and \xa7Best Costume\xa7 at the \xa7Festival de Medina del Campo\xa7 (Goya qualifier) and the \xa7Best Fiction Short\xa7 at the \xa7Miami Int\'l Short Film Festival\xa7.","Specifically in H\xe9ctor\'s musical contribution, the score was \xa7finalist for Best Composition\xa7 at the \xa7XII Festival International du Film d\'Aubagne\xa7 (France, 2012) and two years later received the \xa7Best Music Award\xa7 at the \xa7V Festival de Cine de Castilla-La Mancha\xa7 (FECICAM, 2014). The detailed list of all festivals appears in the technical sheet below.",null],"captions":[null,null,"Film still from *Ef\xedmera* — \xa7Paula Pe\xf1alver\xa7 as \xa7Alicia\xa7.",null,null,"Official poster for *Ef\xedmera*."]},"2012-el-amor-brujo":{"title":"El Amor Brujo","role":"Musical direction, soundscape composition and music production","tagline":"Finalist — Best Dance Production \xb7 Nominee — Best Musical Direction (XVI Max Awards)","blocks":["Taking on *El Amor Brujo* by Falla means measuring oneself against a monument. \xa7Rojas y Rodr\xedguez\xa7 sign the artistic and choreographic direction of a \xa7contemporary flamenco reinterpretation\xa7 with a stellar cast: \xa7Lola Greco\xa7, \xa7Antonio Canales\xa7, \xa7Gema Morado\xa7 and \xa7Chevi Muraday\xa7 alongside \xa7\xc1ngel Rojas\xa7 and \xa7Carlos Rodr\xedguez\xa7 themselves. \xa7Marta Carrasco\xa7 directs the staging and adapts the original libretto by \xa7Gregorio Mart\xednez Sierra\xa7 together with Rojas y Rodr\xedguez; \xa7Alberto Velasco\xa7 signs the actor direction.","H\xe9ctor takes on \xa7musical direction\xa7, \xa7soundscape composition\xa7 and \xa7music production\xa7. The premiere takes place on \xa730 June 2012\xa7 at the \xa7Teatro Auditorio de San Lorenzo del Escorial\xa7.","The following year the production enter

1s the \xa7XVI Max Awards\xa7: \xa7finalist for Best Dance Production\xa7 and \xa7nominee for Best Musical Direction\xa7 (see node 2013-candidatura-max-amor-brujo). The association between H\xe9ctor and Rojas y Rodr\xedguez —begun with *Baile de M\xe1scaras* in 2008— is consolidated in institutional recognition. A year later comes *Titanium*, the piece *El Pa\xeds* would choose as Best Dance Production of 2013.",null]},"2012-women-en-mi":{"title":"Women en mi","role":"Co-production, co-arrangements, transcriptions, programming, piano, recording and partial mixing","tagline":null,"blocks":["\xa7Bettina Flater\xa7 and H\xe9ctor know each other from the stage —she was part of the cast of *13 Rosas*, where they shared the boards during three years of touring—. Now the relationship moves to the studio: *Women En Mi* is co-produced by \xa7Bettina Flater\xa7, \xa7H\xe9ctor Gonz\xe1lez S\xe1nchez\xa7 and \xa7V\xedctor Guadiana\xa7, and released in 2012 by \xa7WeM Records\xa7 (Norway).","H\xe9ctor signs the \xa7transcriptions\xa7, \xa7programming\xa7 and \xa7piano\xa7, co-signs the \xa7arrangements\xa7 with \xa7Bettina Flater\xa7 and \xa7V\xedctor Guadiana\xa7, and shares \xa7recording\xa7 and \xa7mixing\xa7 with Guadiana —who also contributes \xa7violin\xa7 to the album and handles the \xa7mastering\xa7—. The session crosses four studios: \xa7Radiologica Estudios\xa7, \xa7Estudios Cinearte\xa7, \xa7Glocal Sound\xa7 and \xa7Retroestudio\xa7.",null,"The album is presented at \xa7Casa Patas\xa7 and \xa7Teatro Pradillo\xa7 in Madrid, two emblematic venues in the flamenco and independent scene. It is a shared production project where personal affinity —forged in dressing rooms and touring vans— translates into a studio rapport that shows in every arrangement."]},"2012-de-una-pieza-olga-pericet":{"title":"De una pieza","role":"Composition *Ambient* (recorded, created for the production)","tagline":null,"blocks":["*De una pieza* starts from the concept of the \xa7Tangram\xa7: a puzzle where the pieces are rearranged to build new shapes. \xa7Olga Pericet\xa7, \xaba recognised figure of the most renewed flamenco\xbb, takes that mechanism as a metaphor for her own trajectory and summarises it: \xa7\xabIn this production I want to crystallise some moments of my artistic career with 5 chosen pieces, some from my previous works and others created at this moment I am living… resulting in a new form\xbb\xa7.",null,"H\xe9ctor composes \xa7*Ambient*\xa7 —an \xa7original piece created for the production\xa7, integrated as \xa7recorded music\xa7 within the show—. The soundscape is completed by other recorded music: the \xa7Magna Antolog\xeda del folclore musical de Espa\xf1a\xa7, a recording by \xa7El Aguajetas\xa7 and percussion by \xa7Kike Terr\xf3n\xa7. The \xa7original music\xa7 performed live is signed by \xa7Jos\xe9 \xc1ngel Carmona\xa7 and \xa7Antonia Jim\xe9nez\xa7.",null,"The piece would be nominated for the \xa7Max Award for Best Musical Composition\xa7 the following year, with H\xe9ctor Gonz\xe1lez S\xe1nchez credited alongside \xa7Javier Patino\xa7 and \xa7Jos\xe9 \xc1ngel Carmona\xa7 in the nomination."],"captions":[null,"Olga Pericet — *Cuando el flamenco se salta los l\xedmites*.",null,"*\xabOlga Pericet exhales art even in the most subtle of her movements. Her untamed personality captivates the audience from the very first moment she appears on stage\xbb* — Rosal\xeda G\xf3mez, theatre and dance critic, artistic director of the XVII Bienal de Flamenco de Sevilla."]},"2012-rew":{"title":"<<REW","role":"Original composition, music production, soundscape design","tagline":null,"blocks":["Three choreographers in a single production. *<<REW* brings together \xa7Proyecto GR\xa7, \xa7Manuel Li\xf1\xe1n\xa7 and \xa7Daniel Do\xf1a\xa7, and H\xe9ctor contributes some original pieces and signs the soundscape design that holds the piece together.","What is notable is the convergence: with each of them he would collaborate independently in subsequent years — Li\xf1\xe1n in *N\xf3mada*, Do\xf1a in *A Pie*, *No pausa* and *H\xe1bitat*. But here, in 2012, the three coincide on the same stage. A crossing of scenic paths that can only be understood by looking forward."]},"2011-premio-autor-revelacion":{"title":"Premio Autor Revelaci\xf3n","role":"For the work Con Dinamita \xb7 album Supercop (La Shica)","tagline":"The career\'s highest milestone","blocks":["The \xa7Premio Autor Revelaci\xf3n\xa7 from the \xa7XV Spain Music Awards\xa7, awarded jointly by \xa7SGAE\xa7 and \xa7Fundaci\xf3n Autor\xa7, is the most important recognition in the early career of a composer in this country. In April 2011, H\xe9ctor receives it jointly with his collaborators —\xa7Elsa Rovayo\xa7, \xa7Fernando de la R\xfaa\xa7, \xa7Luis Domercq\xa7, \xa7Miguel Rodrig\xe1\xf1ez\xa7 and \xa7Pablo Mart\xedn Jones\xa7— for the work *Con Dinamita*, included in the album *Supercop*.","The ceremony, held in Madrid and broadcast live on \xa7La 2 de RTVE\xa7, brings together that year Rosendo, Joan Manuel Serrat, Morente and the entire leading figures of the sector. The following day\'s headlines —*El Correo*, *20minutos*, *La Opini\xf3n de M\xe1laga*, *El Pa\xeds*— place the album and H\xe9ctor among the winners of the edition.",null,"The work for which H\xe9ctor receives the \xa7Premio Autor Revelaci\xf3n\xa7 in 2011 is *Con Dinamita*, included in *Supercop* (Warner Music Spain, 2010). Two years earlier, in 2009, he had already been a \xa7finalist\xa7 for the same awards in the same category for *Z\xedngara Rapera* (album *Trabajito de chinos*) — two different songs, two consecutive years of nomination, and an award that arrives on the second attempt.","*Credits* — awarded work *Con Dinamita* (album *Supercop*, Warner Music Spain 2010). Co-authors: \xa7Elsa Rovayo\xa7, \xa7Fernando de la R\xfaa\xa7, H\xe9ctor Gonz\xe1lez S\xe1nchez, \xa7Luis Domercq\xa7, \xa7Miguel Rodrig\xe1\xf1ez\xa7, \xa7Pablo Mart\xedn Jones\xa7. Album producer: \xa7Javier Lim\xf3n\xa7. Sound engineer: \xa7Salom\xe9 Lim\xf3n\xa7. Recording: \xa7Estudios Casa Lim\xf3n\xa7 (Madrid). Album launch: Teatro Calder\xf3n, Madrid, 9 March 2010."]},"2011-candidatura-max-despidete-carmen":{"title":"Finalist Max Awards — Desp\xeddete de ti (Carmen)","role":"Production: Desp\xeddete de ti (Carmen), Arrieritos — finalist for Best Dance Production","tagline":null,"blocks":["*Desp\xeddete de ti (Carmen)* by \xa7Arrieritos\xa7 —a choreographic piece for four dancers premiered in 2009 with original music and soundscape design by H\xe9ctor— is \xa7finalist for Best Dance Production\xa7 at the \xa7Max Awards 2011\xa7.","The winner of the category is \xa7Wonderland (Pa\xeds de las Maravillas)\xa7 by \xa7Ballet V\xedctor Ullate\xa7. The other finalist is \xa7Dies Irae; en el r\xe8quiem de Mozart\xa7 by \xa7Compa\xf1\xeda Marta Carrasco\xa7."]},"2011-peti-comite":{"title":"Pet\xed Comit\xe9","role":"Original compositions, music production, soundscape design","tagline":null,"blocks":["\xa7Teresa Nieto en Compa\xf1\xeda\xa7\'s schedule does not stop. *Pet\xed Comit\xe9* arrives as a new piece following the accumulated successes of *Tacita a Tacita* and *De Cabeza*, and H\xe9ctor returns to sign the original compositions, music production and soundscape design.","By this point there is a tacit understanding of tempos, textures and emotional register. But the direction always comes from Teresa: she leads the process from the table work through to the wrap after each performance, and the music is built in service of that vision.",null],"captions":[null,null,"Mixed duet \xb7 Pet\xed Comit\xe9 (Teresa Nieto en Compa\xf1\xeda)."]},"2011-entracte":{"title":"Entr\'acte","role":"Original music, arrangements, music production, soundscape design","tagline":null,"blocks":["There are professional commissions and there are commissions that are something else entirely. *Entr\'acte* is a piece by \xa7Pilar S\xe1nchez\xa7, \xa7Sonia Gonz\xe1lez\xa7 and \xa7La Tacha\xa7 — his mother and his sisters. H\xe9ctor signs the original music, arrangements, music production and soundscape design.","The production crosses classical dance, contemporary and flamenco within a single stage production, reflecting the three traditions that coexist in the family: Pilar\'s classical training, Sonia\'s contemporary work and La Tacha\'s flamenco. *Entr\'acte* premiered on \xa73 July 2011\xa7 in the *Danza de Primera* series at the \xa7Teatro Fern\xe1n G\xf3mez\xa7 in Madrid, with original music and production by \xa7Glocal Sound\xa7.",null],"captions":[null,null,"Backstage, Teatro Fern\xe1n G\xf3mez \xb7 La Tacha, Pilar S\xe1nchez, Sonia Gonz\xe1lez and H\xe9ctor \xb7 3 Jul 2011"]},"2011-la-shica-sziget-budapest":{"title":"La Shica — Sziget Festival, Budapest","role":"Piano and ke

1yboards (performer)","tagline":null,"blocks":["H\xe9ctor accompanies \xa7La Shica\xa7 to the \xa7Sziget Fesztiv\xe1l\xa7 in \xa7Budapest\xa7 in August 2011, one of the largest summer festivals in Europe. The festival brings together more than 350,000 people over seven days on the \xa7Island of Artillery\xa7 in the \xa7\xd3buda\xa7 district, with 52 stages and artists from 41 countries.","That year\'s edition features \xa7Prince\xa7, \xa7Pulp\xa7, \xa7The Prodigy\xa7, \xa7Kaiser Chiefs\xa7, \xa7Kate Nash\xa7, \xa7Kasabian\xa7 and \xa7Thirty Seconds to Mars\xa7, among many others. On the world music stage, \xa7Gotan Project\xa7, \xa7AfroCubism\xa7 (Eliades Ochoa), \xa7Choc Quib Town\xa7 and \xa7Ojos de Brujo\xa7 —who announced one of their last concerts there— appear alongside La Shica and the Spanish circus group \xa7Albadulake\xa7, representing the Spanish and Latin American scene."]},"2011-dale-vida":{"title":"Dale Vida","role":"Music production","tagline":null,"blocks":["Second collaboration of the year with \xa7Shlomi Bitton\xa7. *Dale Vida* is presented at the \xa7IV Festival Empape\xa7, and H\xe9ctor signs the music production — continuing the electronic and sound design work he had begun with *Teaser 3* months earlier. The relationship with the Israeli choreographer provides an international counterpoint to a calendar dominated by Spanish companies."]},"2011-menu-a-la-plancha":{"title":"Men\xfa a la plancha","role":"Original compositions, arrangements, music production, sound space design","tagline":"Inauguration of the Teatro del Centro Cultural Conde Duque","blocks":["Not all commissions come from dance companies. The \xa7Ayuntamiento de Madrid\xa7 programmes *Men\xfa a la plancha* for the inauguration of the \xa7Teatro del Centro Cultural Conde Duque\xa7, and H\xe9ctor signs the original compositions, arrangements, music production and sound space design.","Being part of the inaugural programme of a municipal stage venue in the capital carries specific weight: it is an institutional gesture, a calling card of the theatre to the city. Perhaps for those who attended that evening, the piece\'s sound space became linked to the memory of the opening."]},"2011-5-jotas":{"title":"5 jotas","role":"Piano (performer)","tagline":null,"blocks":["Helsinki. H\xe9ctor performs piano in *5 jotas*, a project by \xa7Antonio Campos\xa7 presented at the \xa7Gloria Cultural Arena\xa7 in the Finnish capital. The commission arrived as a substitute for the ensemble\'s regular pianist, \xa7Pablo Su\xe1rez\xa7 — a challenge that involved, among other things, playing por sole\xe1 for the first time.","The line-up of accompanying musicians was impressive: \xa7Karo Sampela\xa7 (percussion, Finland), \xa7Juan Antonio Su\xe1rez \xabCano\xbb\xa7 (guitar) and \xa7Jos\xe9 Luis L\xf3pez \xabEl Marqu\xe9s\xbb\xa7 (cello)."]},"2011-flamenco-x-3":{"title":"Flamenco x 3","role":"Piano (performer)","tagline":null,"blocks":["Finland discovers flamenco through its own festival. H\xe9ctor performs piano in *Flamenco x 3*, a production by \xa7Emilia Aho\xa7 and \xa7Katja Lunden\xa7 at the \xa714th Helsinki Flamenco Festival\xa7, reviewed by the newspaper \xa7Helsingin Sanomat\xa7.","The event is part of a series of performances that consolidate H\xe9ctor\'s presence on the Nordic circuit during 2011 — a year in which Helsinki appears twice in his diary, something unthinkable barely five years earlier.",null]},"2011-teaser-3":{"title":"Teaser 3","role":"Arrangements, music production, sound space design, programming","tagline":null,"blocks":["With \xa7Shlomi Bitton\xa7, electronics rule. H\xe9ctor signs the arrangements, music production, sound space design and programming for *Teaser 3*, a piece by the Israeli choreographer in which the digital dimension takes on a prominence that in other commissions is subordinate to the acoustic instrument. The programming is not accompaniment here: it is the raw material."]},"2010-kybalion":{"title":"Kybalion (The Concert)","role":"Original idea, artistic direction, original composition","tagline":"Unproduced project \xb7 promotional video recorded at the Gran Teatro de Elche","blocks":["*Kybal

1ion (The Concert)* is an unusual project in H\xe9ctor\'s career: an \xa7audiovisual concert\xa7 of his own original idea, artistic direction and composition, conceived alongside two of the most singular musicians on the Spanish scene of the last decades — violinist \xa7Ara Malikian\xa7 and flautist and saxophonist \xa7Jorge Pardo\xa7. The production \xa7never reached its premiere\xa7 for various reasons; only a promotional video recorded at the \xa7Gran Teatro de Elche\xa7 remains.","The title refers to the *Kybalion*, a hermetic 20th-century text that sets out the \xa7seven universal principles\xa7 attributed to the tradition of Hermes Trismegistus — mentalism, correspondence, vibration, polarity, rhythm, cause and effect, gender. H\xe9ctor translates these seven principles into seven musical pieces that dialogue with synchronised visual projections, conceived as an audiovisual meditation rather than a conventional concert.",null,null,"The recording takes place at the \xa7Gran Teatro de Elche\xa7 in November 2010, at home. For H\xe9ctor, it is the first work in which the conceptual structure — a philosophical tradition translated into musical form — appears so explicitly. Years later, in his albums as *hachedelara*, he would continue exploring that same intersection between music, number and spirit.","*Credits* — original idea, artistic direction and composition: H\xe9ctor Gonz\xe1lez S\xe1nchez. Violin: \xa7Ara Malikian\xa7. Flute and saxophone: \xa7Jorge Pardo\xa7. Recording: Gran Teatro de Elche, November 2010."]},"2010-la-shica-supercop-gira":{"title":"La Shica — Supercop Tour 2010","role":"Piano and keyboards (performer)","tagline":null,"blocks":["From May to August 2010, the compositions from *Supercop* leave the studio and take to the stage. H\xe9ctor joins the tour as \xa7piano and keyboards performer\xa7 under the production of \xa7Morgan Britos S.L.\xa7, turning studio arrangements into live versions that breathe differently.","The *Babelia* supplement of *El Pa\xeds* reviews the tour, placing the project on the radar of the leading cultural press. For H\xe9ctor, the experience consolidates a dual role he would maintain for years: co-composer in the studio and performer on the road."]},"2010-la-shica-supercop-album":{"title":"Supercop","role":"Co-composer, co-arranger, performer (piano and keyboards)","tagline":"Album recorded at Casa Lim\xf3n, produced by Javier Lim\xf3n","blocks":["Co-compositions, co-arrangements and performance of piano and keyboards for *Supercop*, released by \xa7Warner Music Spain\xa7. Co-authorship (composition, arrangements, lyrics and vocal melodies) is shared between \xa7Luis Domercq\xa7 (lyrics), H\xe9ctor Gonz\xe1lez S\xe1nchez (piano and keyboards), \xa7Pablo Mart\xedn Jones\xa7 (percussion and electronics), \xa7Miguel Rodrig\xe1\xf1ez\xa7 (double bass and string arrangements), \xa7Elsa Rovayo\xa7 (vocal melodies) and \xa7Fernando de la R\xfaa\xa7 (guitars). Recorded at \xa7Estudios Casa Lim\xf3n\xa7, produced by \xa7Javier Lim\xf3n\xa7 with sound engineering by \xa7Salom\xe9 Lim\xf3n\xa7. Album launch on 9 March 2010 at the \xa7Teatro Calder\xf3n\xa7 in Madrid.",null,"One of the songs co-composed for this album, *Con Dinamita*, would the following year be the work for which he received the \xa7Premio Autor Revelaci\xf3n\xa7 at the XV Spain Music Awards."]},"2010-finalista-autor-revelacion":{"title":"Finalist — Best Flamenco Album","role":"Work: Tintando el d\xeda (Jorge Pardo — Vientos Flamencos 2)","tagline":null,"blocks":["For the second consecutive year, H\xe9ctor\'s name appears among the finalists of the \xa7Spain Music Awards\xa7. This time the category is \xa7Best Flamenco Album\xa7, and the reason is the composition *Tintando el d\xeda*, included in *Vientos Flamencos 2* by \xa7Jorge Pardo\xa7.","The nomination underscores the weight of the collaboration with Pardo — one of the most influential musicians in flamenco and jazz in Spain — and confirms that the doors of the music industry have opened for a composer who, until a few years earlier, was known primarily on the dance circuit."]},"2010-tacita-a-tacita-estreno":{"title":"Tacita a tacita — premiere","role":"Original compositions, music production, sound space design","tagline":"Premiere at the XXV Festival Madrid en Danza","blocks":["\xa710 November 2010\xa7. \xa7Teatros del Canal\xa7, Madrid. \xa7XXV Festival Internacional Madrid en Danza\xa7. \xa7Teresa Nieto en Compa\xf1\xeda\xa7 celebrates its twentieth anniversary with the premiere of *Tacita a Tacita*, and H\xe9ctor signs the original compositions, music production and sound space design.","It is also the piece where H\xe9ctor tries for the first time \xa7live multichannel mixing\xa7: separate tracks in \xa7QLAB\xa7 fired to different channels of a \xa7digital mixing desk\xa7 with a \xa77.1\xa7 layout, alongside sound technician \xa7Jorge D\xedaz \xabRoy\xbb\xa7. The sound space ceases to be a single front and unfolds through the volume of the auditorium, enveloping the audience.","Nobody knows it yet, but this piece will accumulate \xa7four Max Awards for the Performing Arts\xa7 — the greatest institutional recognition concentrated in a single work across H\xe9ctor\'s entire career as a composer. The road from the premiere stage to the Max ceremony will take three years, but the seed is planted here, on this November evening."]},"2010-tablaos-fiestas-saraos":{"title":"Tablaos, fiestas y saraos","role":"Music production, sound space design","tagline":"Audience Award — Festival Don Quijote de Par\xeds","blocks":["Paris knows \xa7Compa\xf1\xeda Arrieritos\xa7 well. They had already brought *13 Rosas* to the \xa7Caf\xe9 de la Danse\xa7 to great success, and now they return with *Tablaos, fiestas y saraos* to the same venue, within the \xa7Festival Don Quijote\xa7. H\xe9ctor signs the music production and sound space design.","The piece wins the \xa7Audience Award\xa7 — a recognition decided not by a jury but by the people who paid for their tickets and stayed until the end. For a Spanish company performing on the Paris circuit, that kind of direct connection with the French audience is worth as much as any institutional prize."]},"2010-por-unos-pasitos-de-na":{"title":"Por unos pasitos de n\xe1...","role":"Musical composition, music production, sound space design","tagline":null,"blocks":["*Por unos pasitos de n\xe1...* is a production by \xa7Ambulantes Danza\xa7 in collaboration with \xa7Arrieritos Danza\xa7. H\xe9ctor signs the musical composition and sound space design of the piece, directed by \xa7Juan Cifuentes\xa7.","A family piece from age 3 that crosses flamenco and contemporary dance through the fable of three geometric shapes: t

1wo Redonditos and a Cuadradita. Called to the Casa Grande, the Redonditos pass through the door; Cuadradita does not fit. They ask her to change her shape, but she refuses and, dancing por alegr\xedas, they find the solution: it is the door that must change. A view from dance on respect for the identity of those who are different.","The piece was a \xa7finalist\xa7 for the \xa7Premio Espect\xe1culo Revelaci\xf3n\xa7 at the \xa7XV edition of the Max Awards\xa7 (2012)."]},"2010-al-mal-tiempo-buena-cara":{"title":"Al mal tiempo buena cara","role":"Original compositions, music production, sound space design, video post-production","tagline":null,"blocks":["With *Al mal tiempo buena cara*, a production by \xa7Teresa Nieto en Compa\xf1\xeda\xa7, H\xe9ctor broadens the range of his roles. In addition to the original compositions, music production and sound space design, he takes on video post-production — a first step towards comprehensive control of the audiovisual component in stage productions.","The gesture anticipates something that would consolidate over the years: the composer\'s tendency to think not only about what is heard, but about how the whole is seen and felt. Music is not a layer superimposed on the image; both are designed together.","The piece is an anthology that revisits moments from the recent productions of \xa7Teresa Nieto en Compa\xf1\xeda\xa7 — a synthesis of the company\'s style and \xablandscape\xbb across twenty years of work.","The international tour brought the piece to the \xa7Auditorio Carlos P. Romulo\xa7 at the \xa7RCBC Plaza\xa7 in \xa7Makati, Manila\xa7 (Philippines) on \xa720 November 2012\xa7, as part of the *En danza* series of the \xa7Instituto Cervantes\xa7. Collaborators included the \xa7Embassy of Spain in the Philippines\xa7, the \xa7NCCA\xa7 (National Commission for Culture and the Arts) and the \xa7AECID\xa7."]},"2010-in-grave":{"title":"In-Grave","role":"Original music and music editing","tagline":"Contemporary dance, aerial work and functional diversity in a single choral choreography","blocks":["\xa7El Tinglao\xa7 is a theatre and dance company founded in 1995, a pioneer in Spain of \xa7mix-ability\xa7 work: performers with functional diversity — in wheelchairs, with walking sticks or other mobilities — share the stage with other dancers in choral choreographies. The company\'s core mission is the social and professional inclusion of people with functional diversity in the performing arts.","In *In-Grave*, directed and choreographed by \xa7\xc1ngel Negro\xa7, the company crosses \xa7contemporary dance\xa7, \xa7circus aerial work\xa7 and functional diversity around the concepts of \xa7gravity–weightlessness\xa7 and \xa7heaviness–lightness\xa7. Performers rise from the floor with harnesses and elastics to shift the bodily experience: from the air, the physical limitations of the ground disappear — \xabat last a limping person can feel free to dance\xbb, writes the company in the production dossier.","H\xe9ctor signs the \xa7original music\xa7 and the \xa7music editing\xa7 of the piece, which integrates his own material with sacred references such as \xa7Vivaldi\xa7\'s *Stabat Mater* in the choral marionette scene with elastics."]},"2010-3-monologos-3":{"title":"3 mon\xf3logos 3","role":"Original music (with Jorge Gavald\xe1)","tagline":"Three texts \xb7 three authors \xb7 one single performer — Antonio Gonz\xe1lez Beltr\xe1n","blocks":["On its \xa746th anniversary\xa7, \xa7La Car\xe1tula\xa7 co-produces with \xa7Magari Studio\xa7 and the \xa7Escorxador – Centro Cultural\xa7 (\xa7Diputaci\xf3n de Alicante\xa7) *3 mon\xf3logos 3*: a daring theatrical exercise that brings together \xa7three texts by three authors\xa7 in three different performance registers — \xa7oral narration\xa7, \xa7brief realism\xa7 and \xa7dreamlike reverie\xa7 — delivered by a single performer: \xa7Antonio Gonz\xe1lez Beltr\xe1n\xa7, with the collaboration of \xa7Ana Torrellas\xa7.","The texts: *El entierro del ciego*, by \xa7Francisco Garc\xeda Pav\xf3n\xa7 (from his *Cuentos republicanos*: memory of the Second Republic in his native Tomelloso, ironic humour and folk poetry); *C\xe9sar, es necesario que hablemos*, by \xa7Alberto Miralles\xa7 (a short piece on conjugal routine, the fear of loneliness and the loss of love, shot through by a deranged character); and *El drag\xf3n l\xedquido*, a \xabperverse monologue\xbb by \xa7Francisco Nieva\xa7 included in his *Cent\xf3n de Teatro* (perversion and sex as theatrical play to shatter the hypocritical forms of appearances).","H\xe9ctor signs the \xa7original music\xa7 together with \xa7Jorge Gavald\xe1\xa7 — a particularly symbolic commission: it is his \xa7father\xa7 who directs and inhabits the entire piece on stage. The score accompanies the three performance registers from the traditional-folk through to the dreamlike-Nievan, by way of Miralles\'s intimate miniature.",null]},"2010-jorge-pardo-vientos-flamencos":{"title":"Vientos Flamencos 2","role":"Composer, piano and recording engineer (track 7: Tintando el D\xeda)","tagline":"Second volume of Jorge Pardo\'s project","blocks":["Second volume of the *Vientos Flamencos* series by \xa7Jorge Pardo\xa7, flautist and saxophonist who is a historic figure in contemporary flamenco, jazz and fusion. H\xe9ctor signs \xa7track 7\xa7 *Tintando el D\xeda* — a \xa7guajira\xa7 originally composed \xa7two years earlier\xa7 for the production *[Trazos de Soledad](/obra/2008-trazos-de-soledad)* by \xa7Florencio Campo\xa7 and \xa7Ana Arroyo\xa7 (premiere at Teatro Fern\xe1n G\xf3mez \xb7 Vancouver Dance Festival, 2008), where Jorge had already recorded the \xa7flute\xa7 on that track and \xa7saxophones\xa7 on other pieces — and he contributes as \xa7piano\xa7 on the album while also acting as re

1cording engineer. The album was released through All Flamenco Music.",null,"*Album credits (verified on Discogs)* — \xa7Jorge Pardo\xa7 (flute, tenor saxophone, soprano saxophone), \xa7H\xe9ctor Gonz\xe1lez S\xe1nchez\xa7 (piano). Additional musicians: \xa7Polo Ort\xed\xa7, \xa7Moy Natenzon\xa7, \xa7Juan Diego\xa7, \xa7El Chispa\xa7, \xa7Nono Garc\xeda\xa7, \xa7Alejandro Vaquerizo\xa7, \xa7El Cala\xedta\xa7, \xa7Kike Rodr\xedguez\xa7, \xa7Josemi Carmona\xa7, \xa7Francis Pos\xe9\xa7, \xa7Fernando Marconi\xa7, \xa7Pau Mart\xednez\xa7, \xa7Paquete\xa7, \xa7Antonio Carbonell\xa7, \xa7Javier Pedreira\xa7, \xa7Jos\xe9 Vera\xa7, \xa7Carles Benavent\xa7, \xa7Tino di Geraldo\xa7, \xa7Paco Rivas\xa7, \xa7Vicente Climent\xa7, \xa7David Cobo\xa7, \xa7Rogerio de Souza\xa7, \xa7Ra\xfal M\xe1rquez\xa7, \xa7Juan Belda\xa7, \xa7Rubem Dantas\xa7."]},"2009-finalista-autor-revelacion":{"title":"Finalist — Emerging Composer","role":"For the work Z\xedngara Rapera \xb7 album Trabajito de chinos (La Shica)","tagline":null,"blocks":["The first time H\xe9ctor\'s name appears on a nationally reaching shortlist. Finalist for \xa7Emerging Composer\xa7 at the \xa7Spain Music Awards\xa7 for the work *Z\xedngara Rapera*, included in the album *Trabajito de chinos*.","The song has a singular history: its original version was composed in 2004 for the dance piece *OH s\xf3lo m\xedo* by Compa\xf1\xeda Arrieritos, with lyrics by \xa7Luis Domercq\xa7 and vocals by \xa7Elsa Rovayo\xa7. Four years later, re-recorded for a Warner Music album, the same melody opens the doors of the Spain Music Awards.",null]},"2009-la-mirada":{"title":"La Mirada","role":"Original compositions, arrangements, music production, sound space design","tagline":null,"blocks":["\xabCan existence be sustained without the gaze of the lover, the enemy, the stranger who watches?\xbb This question is the starting point for *La Mirada*, a play of light and shadow shaped by the curious hands of \xa7Teresa Nieto\xa7. A production by \xa7Teresa Nieto en Compa\xf1\xeda\xa7 for which H\xe9ctor signs the original compositions, arrangements, music production and sound space design.","\xa7Ara Malikian\xa7 participates as guest violinist. The following year, H\xe9ctor and Malikian would meet again for the recording of the promotional video of *Kybalion (The Concert)* at the Gran Teatro de Elche, a self-authored project that never reached its premiere. But the first encounter takes place here, in Nieto\'s territory, where both discover that their musical languages fit together without forcing the conversation.","The piece premieres at the \xa7Teatro Josep Carreras\xa7 in \xa7Fuenlabrada\xa7, following an artistic residency at the \xa7Centro Danza Canal\xa7 (Madrid). \xabRehearsing at the Centro Danza Canal was a genuine pleasure for the company. The artistic residency in one of its studios proved decisive in bringing the production to its final form\xbb, writes Teresa Nieto.",null,null],"captions":[null,null,null,"Photo: Pedro Arnay","Photo: Pedro Arnay"]},"2009-tocame-las-palmas":{"title":"T\xf3came las palmas: Improvisacions d\'artistes","role":"Original composition, music production, sound space design","tagline":"Improvisation session with Olga Pericet and Marco Vargas — 22 Feb 2009","blocks":["The \xa7Mercat de les Flors\xa7 in Barcelona dedicates its *Flamenco Emp\xedrico* series — dedicated to contemporary flamenco and curated by \xa7Juan Carlos L\xe9rida\xa7 and \xa7Bel\xe9n Maya\xa7 — to the peri

1od 16 February to 1 March 2009. More than fifty artists pass through the series in two weeks: Roc\xedo Molina, Andr\xe9s Mar\xedn, Pastora Galv\xe1n, Bel\xe9n Maya, Arrieritos, Israel Galv\xe1n, Increpaci\xf3n Danza, Sebasti\xe1n Cruz, among others.","Within the series, *T\xf3came las palmas: Improvisacions d\'artistes* is the improvisation format with rotating artists. On \xa7Sunday 22 February at 18:00\xa7, the slot belongs to \xa7Olga Pericet\xa7 and \xa7Marco Vargas\xa7. H\xe9ctor and Pericet had already collaborated in *Chanta La Mui 2* (2008) and had coincided in the performances of *13 Rosas* in which she passed through the cast. The relationship would continue three years later with *De una pieza* and its nomination for the \xa7Max Awards\xa7."]},"2009-despidete-de-ti-carmen":{"title":"Desp\xeddete de ti (Carmen)","role":"Original musical composition, sound space design","tagline":"Premiere at the Centro Cultural La Elipa — would become a Max Awards finalist in 2011","blocks":["*Desp\xeddete de ti (Carmen)* is a piece for four dancers inspired by the \xa7novel by Prosper M\xe9rim\xe9e\xa7 (1845) and the \xa7opera of the same name by Georges Bizet\xa7. The duo \xa7David Picazo\xa7 and \xa7Florencio Campo\xa7 sign script and direction — the same team behind *13 Rosas*, for which H\xe9ctor had signed the original composition four years earlier.","\xabOranges, betrayal, mantillas, domination, castanets, uniforms, desire, red shoes, lust, combs. Love, risk, death. The entire symbolic universe of the classic is present in this version by Arrieritos in which Carmen is the absolute protagonist. All the performers are her… though not only her.\xbb","H\xe9ctor signs the \xa7original musical composition\xa7 and the \xa7sound space design\xa7 of the piece. Premiered in 2009 at the \xa7Centro Cultural La Elipa\xa7 (Madrid), the work would have subsequent performances at the \xa7C\xedrculo de Bellas Artes\xa7 (Oct 2010) and would become a \xa7finalist\xa7 for Best Dance Production at the \xa7Max Awards 2011\xa7.",null,null],"captions":[null,null,null,null,"The four performers — Mar L\xf3pez, Vicki P. Miranda, Elena Santonja and Patricia Torrero — with the red shoes that run through the piece.","Carmen, the absolute protagonist: \xabAll the performers are her… though not only her.\xbb"]},"2008-la-shica-trabajito-gira":{"title":"La Shica — Trabajito de chinos \xb7 European tour","role":"Piano and keyboards performer (Yamaha endorser)","tagline":"Tour through Spain, Croatia, Italy, Portugal and Greece","blocks":["The van crosses borders. Between 2008 and 2009, H\xe9ctor tours \xa7Spain, Croatia, Italy, Portugal and Greece\xa7 as \xa7piano and keyboards performer\xa7 and \xa7Yamaha endorser\xa7 on the European promotional tour for *Trabajito de chinos*, produced by \xa7Morgan Britos S.L.\xa7","It is the first sustained international tour of his career as a live instrumentalist. Until then, trips abroad had been one-off — a festival here, a premiere there. Now they are weeks of back-to-back concerts in European cities, with all the wear and the learning that only the road can give.","During the Greek leg, the band plays a \xa7residency\xa7 at the \xa7Half Note in Athens\xa7 in 2009 — several consecutive nights at the same club, with the band settled and the repertoire growing with each performance."]},"2008-europa-el-rapto":{"title":"Europa (el rapto)","role":"Original music and performance \xb7 musical direction","tagline":"Greek myth + contemporary borders — 1h 10min without interval","blocks":["After *13 Rosas* and *Todos los gatos son pardos*, \xa7Compa\xf1\xeda Arrieritos\xa7 continues to call on H\xe9ctor for each new production. *Europa (el rapto)* premieres on \xa712 December 2008\xa7 at the \xa7Palacio de Festivales de Cantabria\xa7 (Santander) and arrives in Madrid at the \xa7Festival Internacional Madrid en Danza\xa7 (Teatros del Canal, Sala B, 27–28 April). H\xe9ctor signs the \xa7musical direction\xa7, the \xa7original composition\xa7 and the \xa7performance\xa7 — alongside \xa7Bettina Flater\xa7, \xa7Alfredo Valero\xa7 and \xa7Kelian Jim\xe9nez\xa7.","The piece recreates the myth of \xa7Princess Europa\xa7 abducted by \xa7Zeus\xa7 transmuted into a bull, to speak about the \xa7continent\xa7 and its \xa7contents\xa7: \xa7fences\xa7 that cut across the ground like a scar, on one side those who are here, on the other those who want to be. The company puts it this way: *\xabthe myth leads us to a reflection on the perverse relationship between abductor and abducted, between predator and prey\xbb*. On stage: \xa7flamenco guitar\xa7, \xa7accordion\xa7, \xa7voices\xa7, \xa7electronic music\xa7, \xa7electric guitars\xa7, \xa7percussion\xa7 and a \xa7Greek tragedy chorus\xa7.","Roger Salas in *El Pa\xeds*: \xa7*\xabIf there is anyone who can truly be spoken of as fusion in Spanish dance, it is Arrieritos\xbb*\xa7."]},"2008-baile-de-mascaras":{"title":"Baile de M\xe1scaras","role":"Sound space design","blocks":["The \xa7Teatro Alb\xe9niz\xa7 in Madrid. \xa7Rojas y Rodr\xedguez\xa7 premiere *Baile de M\xe1scaras* and H\xe9ctor signs the sound space design. It is the first collaboration with \xa7\xc1ngel Rojas\xa7 and \xa7Carlos Rodr\xedguez\xa7.","The commission presents a singular challenge: the choreographers ask for a \xa7asylum\xa7 to be recreated through sound. H\xe9ctor builds it as a \xa7three-dimensional\xa7 space with \xa7acoustic zoom\xa7 cell by cell — the listening shifts through the imaginary building like a camera through a long take, moving closer to and further from each room.","To feed the design, the cast records \xa7sounds\xa7 in the \xa7bathrooms\xa7 and \xa7dressing rooms\xa7 of several venues — first as a group, then individually — so that H\xe9ctor can work each voice separately and as independent layers in the final edit.","From this first collaboration with Rojas y Rodr\xedguez will emerge projects of growing scale: *El Amor Brujo* (Max Awards finalist) and *Titanium* (named Best Dance Production of 2013 by *El Pa\xeds*)."]},"2008-chanta-la-mui-2":{"title":"Chanta La Mui 2","role":"Original compositions, music production, sound space design","blocks":["Three choreographers from the new flamenco generation on the same stage: \xa7Olga Pericet\xa7, \xa7Marco Flores\xa7 and \xa7Daniel Do\xf1a\xa7. *Chanta La Mui 2* is presented at the \xa7Teatro Pradillo\xa7 in Madrid, and H\xe9ctor signs the original compositions, the music production and the sound space design for all three.","The commission forces him to find a musical language that serves three distinct choreographic proposals without losing coherence. It is also a preview of what is to come: he will work individually with each of them in the years that follow, but here they coincide for the first time under one sonic roof."]},"2008-trabajito-de-chinos-album":{"title":"Trabajito de chinos","role":"Co-composer, co-arranger, performer","tagline":"Work shortlisted for Best New Composer 2009","blocks":["\xa7Warner Music Spain\xa7 releases *Trabajito de chinos*, and H\xe9ctor\'s name appears in the album credits as co-composer and co-arranger. This is not a producer role — it is writing work: melodies, harmonie

1s, structures shared with the artistic team.","One of the songs included, *Z\xedngara rapera*, has a history that goes back to 2004, when H\xe9ctor originally composed it for the dance piece *OH s\xf3lo m\xedo* by Compa\xf1\xeda Arrieritos. Re-recorded for this album, it would be the following year the work for which he received his first nomination as a finalist for \xa7Best New Composer\xa7 at the \xa7Spain Music Awards\xa7."]},"2008-trazos-de-soledad":{"title":"Trazos de soledad","role":"Original compositions, music production, sound space design, piano","tagline":"Premiere at Teatro Fern\xe1n G\xf3mez (Madrid) — tour to Vancouver Dance Festival (Canada)","blocks":["*Trazos de soledad* \xa7premieres at the Teatro Fern\xe1n G\xf3mez\xa7 in Madrid and travels to the \xa7Vancouver International Dance Festival\xa7 (Canada). Directed by \xa7Florencio Campo\xa7 and performed by \xa7Ana Arroyo\xa7 and \xa7Florencio Campo\xa7 himself, H\xe9ctor signs the \xa7original compositions\xa7, the \xa7music production\xa7, the \xa7sound space design\xa7 and the \xa7piano\xa7 — alongside \xa7other pre-existing music\xa7 integrated into the piece.","With this project, the map of venues gains a new continent: North America. The distance between Madrid and the Canadian west coast sums up well the reach that music for dance has acquired in barely four years, from the premiere of *13 Rosas* in Legan\xe9s to international festivals on another hemisphere.","*Trazos de soledad* is also the \xa7genesis\xa7 of a guajira that will take on a life of its own: *\xa7Tintando el D\xeda\xa7*. H\xe9ctor composes it for this production and \xa7Jorge Pardo\xa7 records the \xa7flute\xa7 on that piece; in addition, Jorge records the \xa7saxophones\xa7 for \xa7other pieces\xa7 in the production. Two years later, he will revisit the guajira for his album *[Vientos Flamencos 2](/obra/2010-jorge-pardo-vientos-flamencos)* (2010) — the theme is born here and travels later to the recording studio of one of the great figures of Spanish flamenco-jazz.",null]},"2008-todos-los-gatos-son-pardos":{"title":"Todos los gatos son pardos — European tour 2008","role":"Original compositions, arrangements, music production, sound space design","tagline":"Edinburgh \xb7 Prague \xb7 other European stages","blocks":["\xa7Compa\xf1\xeda Arrieritos\xa7 takes *…Todos los gatos son pardos* — the production premiered in 1999 — on a European tour. In 2008 the piece passes through the \xa7Edinburgh Fringe Festival\xa7 (the world\'s largest performing arts festival) and the \xa7Instituto Cervantes in Prague\xa7, among other international stages. H\xe9ctor signs the original compositions, the arrangements, the music production and the sound space design.","It is a milestone in the international projection of Arrieritos and its composer: H\xe9ctor\'s music travels from Spanish theatres to the European circuit, sustaining the \xa7cross-cultural blend\xa7 characteristic of the company (contemporary flamenco + dance-theatre) in front of audiences from very different cultural contexts."]},"2008-oro-viejo-rocio-molina":{"title":"Oro Viejo","role":"Audio support editing","tagline":"Critics\' Award — C\xe1tedra de Flamencolog\xeda de Jerez (2009)","blocks":["Not all credits are composer credits. H\xe9ctor works on the audio support editing for *Oro Viejo*, a piece by \xa7Roc\xedo Molina\xa7 — a technical, post-production role that nonetheless connects him with one of the most important figures in contemporary flamenco dance.","The piece would receive the following year the \xa7Critics\' Award\xa7 from the \xa7C\xe1tedra de Flamencolog\xeda de Jerez\xa7. It is the second time H\xe9ctor\'s name appears alongside Molina\'s — the first was *Turquesa como el lim\xf3n* in 2006 — always in technical roles, never as composer, but always in the orbit of the dancer who was rewriting the rules of flamenco."]},"2007-13-rosas-premios-max":{"title":"2 Max Awards for 13 Rosas","role":"Composer, orchestrator, musical director and music producer","tagline":"Best Dance Production + Best Choreography \xb7 Palacio Euskalduna, Bilbao","blocks":["At the 10th edition of the \xa7Max Awards for the Performing Arts\xa7, held at the \xa7Palacio Euskalduna\xa7 in Bilbao, *13 Rosas* by \xa7Compa\xf1\xeda Arrieritos\xa7 takes two of the main prizes: \xa7Best Dance Production\xa7 and \xa7Best Choreography\xa7. The piece wins out over *La Prima de Chita* and *J\'arrive...!* in the dance category.","For H\xe9ctor — composer, orchestrator, musical director and music producer of the production — these awards place his work as a musical author on the map of contemporary 

1Spanish dance. It is the first time a work bearing his sonic signature receives the highest recognition in the country\'s performing arts sector."]},"2007-de-cabeza-teresa-nieto":{"title":"De Cabeza","role":"Original compositions, arrangements, music production, sound space design","tagline":"Two Max Awards for the Performing Arts","blocks":["\xa7Two Max Awards for the Performing Arts\xa7 for *De Cabeza*, a production by \xa7Teresa Nieto en Compa\xf1\xeda\xa7. H\xe9ctor signs the original compositions, the arrangements, the music production and the sound space design — the same comprehensive package that had already become his way of working with Nieto.","The two Max Awards come at the XII edition (2009): \xa7Best Choreography\xa7 —Teresa Nieto together with Jes\xfas Caram\xe9s, Daniel Do\xf1a, Manuel Li\xf1\xe1n, Olga Pericet and Vanesa Medina— and \xa7Best Female Dance Performer\xa7 for Nieto herself. Two years after the two Max Awards for *13 Rosas*, it is the second production bearing H\xe9ctor\'s sonic signature to receive the country\'s highest stage recognition; the third, and the most awarded, will be *Tacita a Tacita* in 2013.",null,null,null],"captions":[null,null,"Photo: Pedro Arnay","Photo: Pedro Arnay","Photo: Pedro Arnay"]},"2007-personia":{"title":"Personia","role":"Original compositions, music production, sound space design","blocks":["Barcelona. \xa7Institut del Teatre\xa7. \xa7Sonia Gonz\xe1lez\xa7 presents *Personia*, and her brother signs the original compositions, the music production and the sound space design. The connection predates any contract: Sonia is a contemporary dancer trained at the same Institut del Teatre where her mother studied decades earlier.","Composing for a sister means composing without a safety net: the trust is absolute, but so is the demand. Sonia knows the composer\'s capabilities and limits better than any client, and that transparency calls for a level of artistic honesty that is not always present in professional commissions.",null],"captions":[null,null,"Rehearsal room — Institut del Teatre, Barcelona."]},"2007-las-mujeres-y-el-mar":{"title":"Las mujeres y el mar","role":"Composition, music production and sound space design","blocks":["The circle closes. \xa7La Car\xe1tula\xa7 — his father\'s company, where everything began with *Aerolitos* at age nine — commissions the composition, music production and sound space design for *Las mujeres y el mar*, a staging presented at the \xa7Gran Teatre d\'Elx\xa7.","But the H\xe9ctor who returns to La Car\xe1tula in 2007 is not the boy who lent his voice in 1988. He is now a professional composer with Max Awards, international tours and a catalogue of over a decade of stage productions. Composing for his father\'s company is an act of fidelity to his origins, but also a demonstration of how far he has come since that childhood stage.",null,null],"captions":[null,null,"Antonio Gonz\xe1lez Beltr\xe1n on stage — Gran Teatre d\'Elx.","Overhead shot of the tablado — Las mujeres y el mar."]},"2007-sr-cuki":{"title":"1+1 = 3 La peque\xf1a historia del Sr. Cuki","role":"Composer of the original soundtrack","tagline":"Max Awards Finalist — Best Children\'s Production","blocks":["Composing for children is not simplifying; it is changing one\'s ear. *1+1 = 3 La peque\xf1a historia del Sr. Cuki* is a children\'s production by \xa7Compa\xf1\xeda Arrieritos\xa7, and H\xe9ctor signs the original soundtrack, adapting his musical language for a younger audience without abandoning musical density.","The piece reaches the final for \xa7Best Children\'s Production\xa7 at the \xa7Max Awards\xa7 — proof that the collaboration with Arrieritos is not limited to the adult repertoire and that a good stage composer must be able to move across all age registers."]},"2006-giras-edurne":{"title":"Edurne — Edurne and Ilusi\xf3n tours","role":"Keyboards player","blocks":["Pop mainstream and contemporary dance coexist in the same diary. Between 2006 and 2007, H\xe9ctor works as keyboards player on the *Edurne* and *Ilusi\xf3n* tours by \xa7Edurne\xa7, produced by \xa7Planet Events\xa7 — a circuit of large venues, partial playback and pop-artist logistics that operates by very different rules from those of the theatre.","The experience provides a different perspective: the rigour of the click track, the discipline of a fixed setlist, the pressure of performing in front of a mass audie

1nce that has not come to listen for nuance. It is the opposite of work for dance, but equally formative for a musician who needs to know how to move in any context."]},"2006-turquesa-como-el-limon":{"title":"Turquesa como el lim\xf3n","role":"Sound space design","tagline":"Revelation Award El P\xfablico — Canal Sur Radio 2007","blocks":["In 2006, \xa7Roc\xedo Molina\xa7 is an emerging flamenco dancer who is about to rewrite the rules of contemporary flamenco. H\xe9ctor signs the sound space design for *Turquesa como el lim\xf3n*, and in doing so places himself, quietly, at the epicentre of a renewal that critics are barely beginning to sense.","The piece would receive the following year the \xa7Revelation Award El P\xfablico\xa7 from \xa7Canal Sur Radio\xa7 — one of the first recognitions of Molina\'s career. Working with her at that precise moment, when the talent is already evident but the consecration has not yet arrived, says a great deal about the network H\xe9ctor has built within the Spanish dance circuit."]},"2006-titulo-profesor-superior":{"title":"Advanced Piano Teaching Degree","role":"Higher Music Degree, piano specialisation","tagline":"Official training completed","blocks":["The degree arrives when the professional career is already under way. H\xe9ctor completes his official training with the \xa7Advanced Teaching Degree\xa7 in the Higher Music Programme, piano specialisation, from the \xa7Conservatorio Superior Manuel Massotti Little\xa7 in Murcia. Six years have passed since the \xa7Outstanding End-of-Degree Award\xa7 at the Conservatorio Profesional de Alicante.","By then, H\xe9ctor has already premiered *13 Rosas* (two Max Awards), composed for multiple companies and founded Glocal Sound\xae. Academic training closes a cycle, but the real education has been taking place for years in theatres, recording studios and tour vans."]},"2005-fisterra-el-tinglao":{"title":"Fisterra","role":"Music editing","tagline":"Premiere at Danza en Diciembre (Madrid) — tour to Ferrara and Rimini (Italy)","blocks":["\xa7El Tinglao\xa7 is a theatre and dance company founded in 1995, a pioneer in Spain of \xa7mix-ability\xa7 work: performers with functional diversity — in wheelchairs, with canes or other mobilities — share the stage with other dancers in ensemble choreographies. The company\'s core purpose is the social and professional inclusion of people with functional diversity in the performing arts.","*Fisterra* is a piece created and directed by \xa7Patricia Torrero\xa7 for the company. It premieres at \xa7Danza en Diciembre\xa7 (Madrid) and participates in the \xa7Festival Danzalafollia\xa7 in \xa7Ferrara\xa7 and \xa7Rimini\xa7 (Italy), among other venues.","H\xe9ctor signs the \xa7music editing\xa7 for the piece — his first commission with El Tinglao, to which he would return five years later with *In-Grave* (2010)."]},"2005-sin-nadie-con-quien-hablar":{"title":"Sin nadie con quien hablar verdaderamente","role":"Musical composer and on-stage pianist","tagline":"Based on The Little Prince by Saint-Exup\xe9ry","blocks":["\xabWhat is essential is invisible to the eye.\xbb H\xe9ctor composes and performs at the piano on stage in *Sin nadie con quien hablar verdaderamente*, a staging by \xa7La Car\xe1tula\xa7 at the \xa7Gran Teatre d\'Elx\xa7 based on *The Little Prince* by \xa7Saint-Exup\xe9ry\xa7.","The format is the same as in *13 Rosas* — the piano on the stage floor, not in the pit — but the register is radically different: here there are no large casts or fusion of languages, but a literary text that calls for silence, delicacy and space. The music functions as breath between the words, not as the engine of the action."]},"2005-13-rosas":{"title":"13 Rosas","role":"Composer, orchestrator, musical director, music producer and on-stage pianist","tagline":"Two Max Awards \xb7 three-year international tour","blocks":["*13 Rosas* is the leap. \xa7Compa\xf1\xeda Arrieritos\xa7 asks him for a score for a piece about the thirteen young republican women shot against the walls of Madrid\'s Cementerio del Este in 1939, and H\xe9ctor responds with a total work: composition, \xa7orchestration\xa7, musical direction, production and — in most performances — physical presence at the piano, on stage, throughout the show.","It is also the first work in which H\xe9ctor stops being *a composer who works for a company* and becomes \xa7part of the ensemble\xa7 that takes the stage every night. The piano is not in the pit: it is on the stage floor, among the dancers, integrated into the scenography. The boundary between score and body disappears — something that will mark his understanding of stage music forever.","The critics respond quickly. In 2006 it receives the \xa7Best Dance Production on Tour Award\xa7 at the Feria de Huesca; in 2007 it takes \xa7two Max Awards\xa7 for the Performing Arts — Best Dance Production and Best Choreography — the first Max Awards for a production bearing his sonic signature. The piece embarks on a \xa7three-year tour\xa7 of Europe and America, with stops at the Teatro Fernando de Rojas at the C\xedrculo de Bellas Artes (Madrid), the Teatro Central (Seville), the Caf\xe9 de la Danse (Paris) and the Teatro de las Artes at the Forum Universal de las Culturas in Monterrey (Mexico).","*Full credits* — Direction: \xa7Florencio Campo\xa7. Original idea: \xa7Elena Santonja\xa7, \xa7Patricia Torrero\xa7. Choreographic coordination: Compa\xf1\xeda Arrieritos. Original music, piano and on-stage musical direction: H\xe9ctor Gonz\xe1lez S\xe1nchez. Lyrics: \xa7Andr\xe9s Gonz\xe1lez S\xe1nchez\xa7. Vocal arrangements: \xa7Mara Rey\xa7. Guitar arrangements: \xa7Antonia Jim\xe9nez\xa7. Musical direction: \xa7Gabriel Garc\xeda\xa7. Recorded guitar: \xa7Jos\xe9 Torres Vicente\xa7. Lighting: \xa7Tom\xe1s P\xe9rez\xa7, \xa7Sergio Spinelli\xa7. Scenography: \xa7Ana Garay\xa7 and Florencio Campo. Costumes: Ana Garay. Photography: \xa7Pedro Arnay\xa7.","*On-stage cast (24 performers)* — \xa7Ascensi\xf3n Angulo\xa7, \xa7Montse Cort\xe9s\xa7, \xa7Bettina Flater\xa7, \xa7I\xf1aki Garc\xeda\xa7, \xa7Dacyl Gonz\xe1lez\xa7, \xa7H\xe9ctor Gonz\xe1lez S\xe1nchez\xa7, \xa7Sonia Gonz\xe1lez\xa7, \xa7Tacha Gonz\xe1lez\xa7, \xa7Mamen Godoy\xa7, \xa7Antonia Jim\xe9nez\xa7, \xa7Mar L\xf3pez\xa7, \xa7Lourdes M\xe1s\xa7, \xa7Pepa Molina\xa7, \xa7Janet Nov\xe1s\xa7, \xa7Tomy Ojeda\xa7, \xa7Olga Pericet\xa7, \xa7Andrea Quintana\xa7, \xa7Mara Rey\xa7, \xa7Ana Romero\xa7, \xa7Elsa \\"La Shica\\" Rovayo\xa7, \xa7Patricia Ruz\xa7, \xa7Elena Santonja\xa7, \xa7Patricia Torrero\xa7, \xa7Esperanza de la Vega\xa7.","World premiere: \xa722 October 2005\xa7, Auditorio Padre Soler, Legan\xe9s (Madrid). Awards: *Chivas Tel\xf3n Revelaci\xf3n* 2005, *Best Dance Production on Tour* Feria Huesca 2006, and two *Max Awards for the Performing Arts* 2007 — Best Dance Production and Best Choreography."]},"2005-nace-glocalsound":{"title":"Glocal Sound is born","role":"Founder \xb7 artistic direction and production","tagline":"Production company \xb7 publisher \xb7 label \xb7 audio branding","blocks":["After his first foray into Madrid for *Oh Solo M\xedo* — where he signs with \xa7Arrieritos\xa7 the \xa7first stage version\xa7 of *Z\xedngara Rapera* — in \xa72005\xa7 H\xe9ctor moves into his sister \xa7Tasha\xa7\'s home and sets up what for many months would be known, with all the affection and all the claustrophobia, as \xa7\xabEl Zulo\xbb\xa7: a home studio compressed under a \xa7high IKEA loft bed\xa7 with a ladder, where, squeezed tight, a desk and a keyboard fit \xa7beneath the bed frame\xa7, his first \xa7MacBook Pro\xa7 and an \xa7MBOX\xa7 card for \xa7Pro Tools\xa7. To get in you had to stoop; to produce, concentrate; to get out, pray not to hit your head on a crossbeam. That was, literally, the \xa7seed of Glocal Sound\xa7 — sprouted under a bed — as a structure.",null,"Later he finds another apartment — with genuinely high ceilings — where he can bring his \xa7grand piano\xa7 from Elche. From there H\xe9ctor moves to his own home in Madrid, where he sets up a dedicated \xa7studio room\xa7 for Glocal Sound — the physical heart of the project in the years that follow. Through that space pass \xa7Teresa Nieto\xa7, \xa7Jorge Pardo\xa7, \xa7Daniel Do\xf1a\xa7, \xa7Manuel Li\xf1\xe1n\xa7, \xa7Olga Pericet\xa7, \xa7Diana Navarro\xa7, \xa7Juan Debel\xa7 and a very long list of creators and collaborators.",null,null,null,"Under that label a network of musicians, lyricists, arrangers, producers and sound engineers is coordinated. The first decade focuses on original music for the performing arts and audiovisual projects: \xa7199 works registered\xa7 with SGAE, dozens of soundtracks, tours, Max Awards and international festivals. \xa7Glocal Sound\xa7 was always a B2B company; in 2022 the \xa7Audio Branding\xa7 division and the sync licensing arm are formally established, serving national and international brands and creatives.","Glocal Sound is, in essence, the invisible substrate from which all of H\xe9ctor\'s subsequent work is produced — the structure that makes it possible for one author to sign, in successive years, the music for a flamenco choreography in Sydney, a documentary in the Canary Islands, an advertising campaign in La Rioja or an album at the Casa Lim\xf3n studios."],"captions":[null,"\xabEl Zulo\xbb — executive director of the seed, under the slats of an IKEA bed.",null,"New apartment — studio with MacBook Pro + MBOX + Pro Tools, keyboards and rack.","Portrait at the keyboard in the new apartment.","New apartment: the grand piano arrives, brought from Elche."]},"2005-accesit-ciudad-logrono":{"title":"Runner-up — International Composition Prize Ciudad de Logro\xf1o","role":"For the work Noche de Hogueras","tagline":"First international recognition as a composer","blocks":["Before the Max Awards, before the nominations at the Spain Music Awards, there is a runner-up prize in Logro\xf1o. The \xa7Premio Internacional de Composici\xf3n Ciudad de Logro\xf1o\xa7 grants the recognition to the work *Noche de Hogueras*, performed by the \xa7Orquesta de Pulso y P\xfaa San Miguel\xa7.","It is H\xe9ctor\'s first recognition as a composer in an open competition. The piece, written for plu

1cked-string instruments — an unusual ensemble outside the rondalla and plectro orchestra circuit — demonstrates that the craft of composition works independently of register: what matters is the structure, not the instrumentation.","The competition, known at the time as the \xa7Premio Internacional de Composici\xf3n Ciudad de Logro\xf1o\xa7, has since become the \xa7Festival de Plectro de La Rioja\xa7 — an international reference for plectro orchestras — which in 2024 celebrated its \xa749th edition\xa7."]},"2004-oh-solo-mio":{"title":"OH s\xf3lo m\xedo","role":"Composer and music producer","tagline":"Includes the original version of Z\xedngara Rapera","blocks":["The seed of what is to come is planted in a recording studio, without fanfare. H\xe9ctor composes and produces several pieces for *OH s\xf3lo m\xedo* by the \xa7Compa\xf1\xeda Arrieritos\xa7, including the song *Z\xedngara Rapera* — an original version for dance, with lyrics by \xa7Luis Domercq\xa7 and vocals by \xa7Elsa Rovayo (La Shica)\xa7.","The recording takes place in the \xa7room\xa7 where the following year H\xe9ctor will set up his beloved *\xa7Zulo\xa7* — the physical germ of Glocal Sound. The instrumentation is makeshift and circumstantial: a \xa7toy guitar\xa7 belonging to his nephew, \xa7electronic percussion\xa7, a \xa7programmed bass\xa7 and his own \xa7keyboards and synthesisers\xa7. That sound is, literally, the \xa7seed\xa7 of what La Shica would later have live and on record — where the programmed instruments would become the \xa7guitar of Fernando de la R\xfaa\xa7, the \xa7percussion of Pablo M. Jones\xa7 and the \xa7bass and double bass of Miguel Rodrig\xe1\xf1ez\xa7.","The song would have years of life ahead: it would be \xa7re-recorded\xa7 for the album *Trabajito de Chinos* on \xa7Warner Music\xa7 (2008) and would lead the La Shica project to become a \xa7finalist for Revelaci\xf3n Author\xa7 at the \xa7Spain Music Awards\xa7 in 2009. But in 2004 it is, simply, a song for a dance piece by \xa7Arrieritos\xa7."]},"2004-la-judia-de-toledo":{"title":"La Jud\xeda de Toledo","role":"Musical composition","tagline":null,"blocks":["\xa7Maracaibo Teatro\xa7, the company directed by \xa7Cristina Maci\xe1\xa7 — Antonio Gonz\xe1lez Beltr\xe1n\'s second wife — commissions H\xe9ctor to compose the music for *La Jud\xeda de Toledo*. The project grows out of the extended family ecosystem, where the La Car\xe1tula and Maracaibo companies share a theatrical heritage, professional networks and, ultimately, the same Sunday dinner table."]},"2004-amores-imposibles":{"title":"Amores imposibles","role":"Musical adviser","tagline":null,"blocks":["Musical consultancy for *Amores imposibles*, a production by \xa7La Car\xe1tula\xa7. A consultancy role rather than direct composition — H\xe9ctor guides the musical decisions of the staging without signing the score, in a form of collaboration that is less visible but equally present in the creative chain."]},"2004-concierto-14-abril":{"title":"Concierto 14 abril","role":"Musical director, pianist, keyboard player and composer","tagline":"Gala with 30+ musicians from local ensembles","blocks":["14 April, anniversary of the Republic. The \xa7Ateneo Republicano de Elche\xa7 organises a concert, and H\xe9ctor takes on the musical direction, piano and keyboard performance, and the composition of part of the repertoire. \xa7More than 30 musicians\xa7 from local ensembles share the stage at a civic event where music functions as an act of collective memory.","Artistically coordinating thirty musicians from different backgrounds — rock bands, classical ensembles, local artists — is an exercise in musical direction in its purest form: tempos, entries, transitions, volume balance. An experience that, years later, would be reflected in his ability to manage complex ensembles in stage productions."]},"2003-no-a-la-guerra":{"title":"No a la Guerra","role":"Musical composition with field recordings","tagline":"First piece for audiovisual","blocks":["The first time H\xe9ctor\'s music accompanies a moving image. *No a la Guerra* is an independent audiovisual production for which he composes using \xa7field recordings\xa7 — sounds captured from the real environment, integrated into the score as compositional material.","The move from the stage to the screen opens a path that will take years to consolidate but that is already there, latent: the soundtracks of *Ef\xedmera*, *The Vanished Dream* and *La decisi\xf3n de Joaquina* will all, in some sense, have this first gesture as their antecedent."]},"2003-que-me-llamen-heroina":{"title":"Que me llamen hero\xedna","role":"Composer and music producer","tagline":null,"blocks":["\xa7La Poderosa\xa7 in Barcelona. \xa7Sonia Gonz\xe1lez\xa7 presents *Que me llamen hero\xedna*, produced by \xa7La Car\xe1tula\xa7, and H\xe9ctor signs the composition and music production. It is a crossover between his father\'s family company and his sister\'s independent career as a contemporary dancer.","The commission places H\xe9ctor in a position he would repeat several times throughout his career: hinge-composer between the family ecosystem and the professional circuit. The music connects both worlds without either of them losing its identity."]},"2002-classic-jazz-barcelona":{"title":"Classic & Jazz Barcelona","role":"Piano, harmony and music theory teacher","tagline":"Preparation of students for Royal Academy of Music (UK) examinations","blocks":["Barcelona, 2002. While finishing his higher studies and beginning to re

1ceive composition commissions, H\xe9ctor teaches piano, harmony and music theory at \xa7Classic & Jazz Barcelona\xa7, the academy of \xa7Bego\xf1a Mart\xed\xa7, preparing students for examinations of the \xa7Royal Academy of Music\xa7 (UK).","The teaching interlude lasts until 2003. It is a period of double life — composer in the afternoons, teacher in the mornings — that connects, without his planning it, with the pedagogical tradition of his mother at the Escuela de Danza Pilar S\xe1nchez. Teaching music is, in this family, a trade inherited almost by osmosis."]},"2000-premio-extraordinario":{"title":"Premio Extraordinario","role":"Intermediate Degree Final Examination \xb7 piano speciality","tagline":"First major academic recognition","blocks":["Premio Extraordinario for the Intermediate Degree Final Examination at the \xa7Conservatorio Profesional de M\xfasica de Alicante\xa7, piano speciality. He also receives \xa7Matr\xedcula de Honor\xa7. It is the first formal academic recognition of his trajectory as a pianist — a closing of a chapter that coincides with the moment when his activity as a composer for the stage begins to take up more space than regulated study."]},"1999-historias-del-zoo":{"title":"Historia del Zoo","role":"Original music","tagline":"Text by Edward Albee \xb7 direction by Alberto Rowinsky","blocks":["H\xe9ctor signs the \xa7original music\xa7 for *Historia del Zoo* — a production by \xa7La Car\xe1tula Jove-Teatre Escola\xa7 based on the text by \xa7Edward Albee\xa7, directed by the Uruguayan master \xa7Alberto Rowinsky\xa7 (heir in his country to the tradition of \xa7Margarita Xirg\xfa\xa7 and \xa7Pepe Estruch\xa7, through an exile that — writes Antonio Gonz\xe1lez Beltr\xe1n in the programme — *\xabwe did not want\xbb* and that the company *\xabreclaims to its benefit\xbb*).","The production belongs to the \xa7third and final level\xa7 of the La Car\xe1tula Jove school and closes the training of the graduating cohort. In the words of the director of La Car\xe1tula in the programme notes, *\xabHistoria del Zoo is an emblematic text for La Car\xe1tula; its title brings to mind very significant names from our journey across these thirty-five years of existence\xbb*. To stage it again *\xabis not a song to nostalgia but a reaffirmation of the future\xbb*."]},"1998-ubu-rey":{"title":"Ub\xfa Rey","role":"Composition and music production (with Julay)","tagline":"Hard rock soundtrack for Alfred Jarry","blocks":["For *Ub\xfa Rey* by \xa7Alfred Jarry\xa7, directed by \xa7Oswaldo Camacaro\xa7 (Venezuela) for \xa7La Car\xe1tula Jove\xa7, H\xe9ctor turns to \xa7Julay\xa7, a hard rock band he was playing with at the time. Distorted guitars and powerful arrangements performed live on stage, where the audience was also seated — an immersive approach in which the band was part of the production and the audience shared the same space as the actors and musicians.","*Musicians* — \xa7Pantxi\xa7, \xa7Clement\xa7, \xa7T\xedo P\xa7, \xa7Jorge Baeza\xa7, \xa7Grego\xa7 (drummer of Noviembre) and H\xe9ctor. Direction: \xa7Oswaldo Camacaro\xa7."]},"1997-gran-fracaroli":{"title":"El Gran Fracaroli","role":"Composer, live performer (piano and sequences)","tagline":"First work on stage as a musician, not as an actor","blocks":["*El Gran Fracaroli* marks a turning point: it is the first work in which H\xe9ctor stops being an actor to devote himself exclusively to composing and performing the production\'s soundtrack live. The leap from actor to musician on stage — it happens here, in a production by \xa7La Car\xe1tula Jove\xa7. It is also where he begins to combine pre-recorded sequences on his \xa7Yamaha SY85\xa7 with live performance — a hybrid working method between the electronic and the live that he would maintain for years."]},"1997-49-razones":{"title":"49 Razones en el Aire — De Ida y Vuelta","role":"Original idea, composition, arrangements, production, piano / synthesiser / rhythm guitar","tagline":"Live duo with Juanfra Serrano \xb7 Lighting by Ciru Cerdeiri\xf1a","blocks":["Live musical production conceived and produced by H\xe9ctor for the \xa7Gran Teatro de Elche\xa7. The setup: a \xa7Yamaha SY85\xa7, a grand piano and two guitars — H\xe9ctor on rhythm, \xa7Juanfra Serrano\xa7 (guitarist of Noviembre) on lead. A show of original compositions where the sequences pre-recorded on the synthesiser interweave with the live performance.","The lighting design is by \xa7Ciru Cerdeiri\xf1a\xa7, who had trained at La Car\xe1tula learning from \xa7Nazario Gonz\xe1lez Beltr\xe1n\xa7 in his early days — another thread connecting the Sala La Car\xe1tula del Raval with what H\xe9ctor does outside it. Photography by \xa7Jos\xe9 Mar\xeda Alc\xe1zar\xa7.",null,null,null,null,null,null,null,null,null,null,null,null]},"1996-bandas-locales-elche":{"title":"Bandas locales de Elche","role":"Keyboard player","tagline":"Support act for Rosendo at the Ciudad Deportiva de Elche","blocks":["From the age of seventeen, alongside his work with La Car\xe1tula Jove, H\xe9ctor throws himself into the local band circuit in Elche as a keyboard player. He plays with \xa7Noviembre\xa7, \xa7Fraskito\xa7 and \xa7The Bluebonnets\xa7 — rock and pop outfits from mid-nineties Elche who honed their craft in rehearsal rooms, bars and the district\'s patron-saint festivals.","With \xa7Noviembre\xa7 comes the biggest moment of this period: serving as \xa7support act for Rosendo\xa7 at the \xa7Ciudad Deportiva de Elche\xa7. It is the first time H\xe9ctor plays a stadium in front of a large audience. He was always shy. He enjoyed performing live, but with a stage fright he would learn to manage over the years without ever fully losing it. His natural tendency, as the rest of his career would show, was different: to work in the shadows, to enjoy his work from the stalls or from the wings, not under the spotlight.","*Adi\xf3s a las Armas* is the most representative song by Noviembre — a Spanish \xabWe Are the World\xbb recorded as a collective gesture against the Gulf War.",null]},"1996-subanempujenestrujenbajen":{"title":"Subanempujen-estrujenbajen","role":"Composer, music producer and actor","tagline":"First c

1omposition for the stage, aged 17","blocks":["Composer, music producer and actor in *Subanempujenestrujenbajen*, a production by \xa7La Car\xe1tula Jove\xa7 based on *Exercises in Style* by \xa7Raymond Queneau\xa7. It is \xa7H\xe9ctor\'s first composition for the stage\xa7: his first appearance in credits as a musical author, aged just 17. The production exceeded \xa790 performances\xa7 on tour, including a competition in \xa7Castell\xf3 d\'Emp\xfaries\xa7 (Girona)."]},"1994-tirant-lo-blanc":{"title":"Tirant lo Blanc","role":"Actor and dancer (pavane)","tagline":null,"blocks":["Actor and dancer (pavane) in *Tirant lo Blanc*, a production by \xa7La Car\xe1tula\xa7. At fifteen, H\xe9ctor continues as part of his father\'s company as a stage performer — actor and dancer, not yet a musician. The leap to the other side of the score would come three years later, with *El Gran Fracaroli*."]},"1989-esperando-a-godot":{"title":"Esperando a Godot","role":"Actor — The Boy","tagline":"National tour aged 10","blocks":["Just turned ten, H\xe9ctor plays the role of \xa7The Boy\xa7 in *Waiting for Godot* by \xa7Samuel Beckett\xa7, staged by La Car\xe1tula under the direction of Antonio Gonz\xe1lez. It is the character who appears at the end of each act to tell Vladimir and Estrag\xf3n that Godot will not come today but will certainly come tomorrow — a brief part, but enough to get the bug of life in theatres.","The production embarks on an ambitious \xa7national tour\xa7: Centro Cultural de la Villa in Madrid, Teatre Rialto in Valencia, theatres across the province of Alicante. For a ten-year-old boy, the company van, the dressing rooms, the late dinners at VIPs after performances and the hotel nights are a second school — the culture of touring as a way of life.","La Car\xe1tula\'s Beckett from Elche would later become part of the documentary archives of the \xa7Centro de Documentaci\xf3n Esc\xe9nica\xa7 as one of the essential references of Spanish independent theatre of the late eighties."]},"1988-clases-musica-manola-rico":{"title":"First music lessons","role":"Solf\xe8ge, piano, music theory, choir, harmony","tagline":"Calle San Isidro, Elche","blocks":["At nine, H\xe9ctor begins his formal musical training at the \xa7Academia Manola Rico\xa7 on Calle San Isidro in Elche: \xa7solf\xe8ge\xa7, \xa7piano\xa7, \xa7music theory\xa7, \xa7choir\xa7 and \xa7harmony\xa7. The start of an academic trajectory that would culminate in the Premio Extraordinario for the Intermediate Degree Final Examination in Alicante and the T\xedtulo de Profesor Superior de Piano in Murcia."]},"1988-la-caratula-aerolitos":{"title":"Aerolitos","role":"Child voice","tagline":"Professional debut aged 9 \xb7 Coup de Pouce du Festival Off d\'Avignon","blocks":["At \xa7nine years old\xa7, H\xe9ctor participates as one of the child voices in *Aerolitos*, a production by \xa7La Car\xe1tula\xa7 directed by \xa7Cristina Maci\xe1\xa7. Barely a single line, but it is his first appearance in a professional production. The show leaves Elche and crosses the Pyrenees: in the summer of 1988 it is presented at the \xa7Festival de Th\xe9\xe2tre d\'Avignon\xa7 and there receives the \xa7Prix Coup de Pouce du Off\xa7 among more than four hundred participating productions.","A production based on texts by \xa7Carlos Edmundo de Ory\xa7, the Gaditan post-ist poet. Dramaturgy by \xa7Antonio Gonz\xe1lez\xa7 and \xa7Cristina Maci\xe1\xa7. Music by \xa7Jorge Gavald\xe1\xa7. Lighting and masks by \xa7Nazario Gonz\xe1lez\xa7. Set design by \xa7Manuel Maci\xe1\xa7. Mime master: \xa7Eduardo Vendrells\xa7. Special effects: \xa7Salvador Vicent\xa7. Poster by \xa7Francisco Nieva\xa7. Photography by \xa7Elisa Ruiz\xa7. A meeting point between theatre and dance — contemporary, flamenco, mime, masks — with a strong aesthetic charge and a poetic aura that runs through the entire production.","For H\xe9ctor it is his first appearance in a professional production. From that experience on, the boundary between *playing* at doing theatre at home and *doing* it outside ceases to exist.",null,null,null,null,null,null,null,null]},"1980-infancia-sala-caratula-escuela-danza":{"title":"La Sala La Car\xe1tula and the Dance School","role":"First experiences of theatre and dance","tagline":"Growing up backstage, at the barre and under the lights","blocks":["Before H\xe9ctor steps onto a stage as a performer, his sentimental education in the performing arts happens in the most natural way possible: simply by being there. From as far back as he can remember, his everyday life is divided between two spaces that for any other child in Elche would have been extraordinary and that for him are, simply, the extended home of his parents.","The first is the \xa7Escuela de Danza Pilar S\xe1nchez\xa7, founded by his mother in 1963 on Calle Olivereta and relocated in 1971 to the Plaza de las Flores. H\xe9ctor grows up surrounded by classes in \xa7classical dance\xa7 and \xa7Spanish dance\xa7: the pianist marking barre exercises, the rhythmic click of castanets in bolera school rehearsals, students warming up in the corridor while he does his homework in a corner. It is not that he takes formal lessons at that age — it is that dance forms part of the background noise of his childhood, as television does for other children. The body in movement, music as the structure of gesture, the discipline of rehearsal: all of this enters by osmosis before anyone teaches it to him deliberately.","The second space is the \xa7Sala La Car\xe1tula\xa7, the small theatre that his father Antonio Gonz\xe1lez Beltr\xe1n runs in the \xa7Raval de Elche\xa7, one of the city\'s historic neighbourhoods. The venue is the home base of the company \xa7La Car\xe1tula\xa7, founded in 1964, and functions as a rehearsal space, props store and performance hall. For the young H\xe9ctor, the sala is a territory of shadows, spotlights and mysterious objects. While his uncle \xa7Nazario Gonz\xe1lez Beltr\xe1n\xa7 raises and lowers lighting bars and tests angles for the next premiere, H\xe9ctor wanders backstage, hides behind the curtains, handles the puppets resting on their hooks and unconsciously absorbs the technical language of theatre: corbata, callej\xf3n, proscenio, ciclorama.","La Sala La Car\xe1tula is not only a family space. It is an active node of \xa7Spanish independent theatre\xa7 of the 1970s and 1980s, a circuit that connects companies from across the country in small venues, small-scale festivals and van tours. Productions of their own and others\' pass through: puppet shows for children, staged readings, recitals. The programme sheet for the premiere of *El ver\xed del teatre* (\xa7Rodolf Sirera\xa7, 1980) documents the family ecosystem in action with precision: Antonio Gonz\xe1lez directs, \xa7Pilar S\xe1nchez\xa7 signs the choreography, Nazario Gonz\xe1lez handles the lighting, \xa7Jorge Gavald\xe1\xa7 composes the music. H\xe9ctor is one year old. It will be a decade before he steps onto the stage himself, but when he does he will not need anyone to explain how a theatre company works — he has been watching it since the cradle.","Those afternoons between the ballet barre and the lighting booth shape a way of understanding music that H\xe9ctor will carry throughout his career: music does not exist in the abstract, it exists \xa7in the service of a body, a gesture, a scene\xa7. When he later composes for dance, for film or for theatre, he will not move from the score towards the stage, but from the stage towards the score — exactly as he saw it done as a child, sitting in the third row of the Sala La Car\xe1tula while his father adjusted the light for a monologue and his mother marked a rehearsal step in the room next door."]},"1979-nace-en-elche":{"title":"Born in Elche","role":"Family of artists \xb7 La Car\xe1tula and Escuela de Danza Pilar S\xe1nchez","tagline":"Theatre and dance at the same table","blocks":["H\xe9ctor Gonz\xe1lez S\xe1nchez is born on \xa721 March 1979\xa7 in Elche, Alicante, the youngest of four siblings from the union between the playwright \xa7Antonio Gonz\xe1lez Beltr\xe1n\xa7 (Sidi-Bel-Abb\xe8s, 1940 — Alicante, 2013), director and founder of the company \xa7La Car\xe1tula\xa7, and the dancer and pedagogue \xa7Pilar S\xe1nchez Mart\xednez\xa7 (Elche, 1946), founder of the \xa7Escuela de Danza Pilar S\xe1nchez\xa7. The house he grows up in is, de facto, a permanent intersection of text theatre and classical and Spanish dance: live music, rehearsals, scores and choreographies form part of the domestic background noise from the very first day.","His three older siblings map out what it means to grow up in this family. \xa7Andr\xe9s Gonz\xe1lez S\xe1nchez\xa7, twelve years his senior, is a journalist, writer and poet. \xa7Tasha Gonz\xe1lez S\xe1nchez\xa7, ten years his senior, is a flamenco dancer and co-owner of \xa7Las Carboneras\xa7, a landmark tablao in Madrid. \xa7Sonia Gonz\xe1lez S\xe1nchez\xa7, eight years his senior, is a contemporary dancer with a degree from the \xa7Institut del Teatre\xa7 in Barcelona, has worked with companies such as \xa7Sol Pic\xf3\xa7 and \xa7Mar G\xf3mez\xa7, and currently directs the Escuela de Danza Pilar S\xe1nchez. From Antonio\'s second marriage with \xa7Cristina Maci\xe1\xa7 (La Car\xe1tula / \xa7Maracaibo Teatro\xa7), \xa7Marina Gonz\xe1lez Maci\xe1\xa7 is born in 1991, a journalist, feminist activist and actress. H\xe9ctor thus grows up as the youngest in a family where writing, dance, theatre and cultural politics are not vocations but the trade of the household.","His father, the son of Spanish emigrants in French Algeria, trained in Dramatic Arts in Murcia, graduated in Romance Philology from the University of Murcia and in Letters from the Universit\xe9 Lyon II. For decades he combined teaching — as an associate professor at the University of Alicante and at the Miguel Hern\xe1ndez — with stage creation: in \xa71964\xa7 he founded La Car\xe1tula, one of the founding companies of \xa7Spanish independent theatre\xa7 and one with the longest continuous trajectory in the country. In \xa71970\xa7 he received the First Prize of the VII National Youth Theatre Competition; in \xa71988\xa7, La Car\xe1tula won the \xa7Coup de Pouce du Off\xa7 at the Avignon Festival for *Aerolitos*, directed by \xa7Cristina Maci\xe1\xa7. In 2016, the city of Elche named a street after him.","His mother, born in Elche, began dancing at the age of eight in Alicante and, in 1958, moved to the \xa7Institut del Teatre\xa7 of the Diputaci\xf3 de Barcelona, where she studied classical dance, Spanish dance, C

1atalan folklore and art history. She trained under \xa7Joan Magri\xf1\xe1\xa7, principal dancer and choreographer of the \xa7Gran Teatre del Liceu\xa7 between 1937 and 1977, and danced in opera and ballet productions at the Liceu itself between the ages of fourteen and seventeen. She completed her studies with distinction in Classical Dance and top marks in Spanish Dance. In \xa71963\xa7 she opened her own school on Calle Olivereta in Elche — relocated in 1971 to the Plaza de las Flores — today the \xa7oldest active dance school in the city\xa7. In 1972 she created the semi-professional company DansAires; in 1981 she obtained the AFMDC superior diploma in France, being the first Spanish woman to achieve it.","Between \xa71963 and 1964\xa7, barely a year apart, both of them founded from Elche the two artistic projects that would define five decades of cultural life in the city, and that, twenty years later, would intertwine naturally in the way their son understands music — always in the service of the body, the gesture, the word, the shared scene."]},"glocal-sync-catalogue":{"title":"SYNC Catalogue","blocks":["Premium boutique catalogue of instrumental music for licensing, officially launched on 15 March 2024 with the inaugural piece *Euphony*. Genres: cinematic, orchestral, piano, electronics, post-classical, immersive electronic soundscapes, contemporary orchestral arrangements. Four-tier licensing model (Personal / Pro / Premium / Total). Confirmed catalogue titles: Euphony, Nebula, Shiver, Pulse — all composed by hachedelara."]},"glocal-bespoke":{"title":"Bespoke","blocks":["Custom original music service for film, video games, dance, theatre and branding, with a collaborative process and a stable network of producers and engineers. Verified examples of bespoke projects: SHEnergy within (2023), Hilo de Fuego (2025), Peace (2024), coordination of pre-arrangements on Alma (Germ\xe1n L\xf3pez, 2022)."]},"glocal-academy":{"title":"Academy","blocks":["Mentoring and training in the audio/music industry. No course catalogue published yet; it appears in the corporate navigation as a future strategic branch."]},"glocal-podcast":{"title":"Glocal Sound\xae Podcast","blocks":["Experimental podcast hosted by \xa7Diana N\xfa\xf1ez\xa7 and H\xe9ctor Gonz\xe1lez S\xe1nchez. \xa7Five episodes\xa7 exploring the \xa7power of sound\xa7 and its impact on emotions, branding and everyday life — an immersive experience from inside the craft, with occasional guests. First episode published: *Pap\xe1, tengo risa en la voz*. Status: on hold while focus shifts to other areas of the business."]},"canciona-arranque":{"title":"Launch — COO + CIO","blocks":["Joins as COO and CIO. Designs and implements the entire systems architecture from scratch (CRM, operations, marketing, sales, legal) using no-code technologies."]},"canciona-escalado":{"title":"Scaling — 2 to 32 people","blocks":["Co-leads the growth of the team and the coordination of more than 100 external collaborators, covering areas of technology, marketing, sales, customer service, administration, production and legal."]},"canciona-co-ceo":{"title":"Co-CEO","blocks":["During the \xa7Co-CEO\xa7 phase the company reaches \xa7€1.2 M in revenue in 2021\xa7 and consolidates an average rating of \xa74.9 out of 5\xa7 with more than 1,500 Google reviews. In \xa7March 2022\xa7 H\xe9ctor decides to \xa7close his chapter\xa7 in the project and \xa7sells his shares\xa7 to the founding partner \xa7Aldo Narejos\xa7 so that he can continue the venture, returning full-time to \xa7Glocal Sound\xae\xa7. In the following years, the \xa7rise of generative AI in music\xa7 profoundly reconfigures the personalised music market — a sector that in 2016 was still artisanal territory."]},"2013-titanium-estreno":{"title":"World Premiere — Teatros del Canal, Madrid","blocks":["World premiere at Teatros del Canal in Madrid. Critics highlight the fusion of languages and the solidity of the musical discourse."]},"2013-titanium-el-pais":{"title":"Best Dance Production 2013 — El Pa\xeds","blocks":["The newsp

1aper El Pa\xeds selects Titanium as Best Dance Production of 2013, one of the most important critical recognitions in the sector in Spain."]},"2013-titanium-gira-internacional":{"title":"International tour — London, Budapest, Istanbul","blocks":["The piece leaves Spain and is performed at international festivals, with confirmed stops in London, Budapest (with institutional support) and Istanbul."]},"13-rosas-huesca":{"title":"Best Touring Production Award — Huesca Fair","blocks":["The Huesca Fair awards 13 Rosas the Best Dance Touring Production prize, the first institutional recognition for the piece."]},"13-rosas-max-2007":{"title":"Two Max Awards 2007 — Best Production and Best Choreography","blocks":["13 Rosas wins the Max Awards for Best Dance Production and Best Choreography, consolidating critical recognition and placing H\xe9ctor, as composer, on the map of contemporary Spanish dance."]},"13-rosas-gira-internacional":{"title":"International tour — Europe and the Americas","blocks":["A three-year tour taking in Madrid (C\xedrculo de Bellas Artes), Seville (Teatro Central), Paris (Caf\xe9 de la Danse), Monterrey (Forum Universal de las Culturas) and other venues. H\xe9ctor accompanies the piece as an on-stage pianist at many of the dates."]}}');function i(e,a,t,i){var n,r;return"es"!==i&&t&&null!==(r=null===(n=o[e])||void 0===n?void 0:n[a])&&void 0!==r?r:t}function n(e,a,t,i){var n,r,s;return"es"===i?t:null!==(s=null===(r=o[e])||void 0===r?void 0:null===(n=r.blocks)||void 0===n?void 0:n[a])&&void 0!==s?s:t}function r(e,a,t,i){var n,r;if("es"===i||null==t)return t;let s=null===(r=o[e])||void 0===r?void 0:null===(n=r.captions)||void 0===n?void 0:n[a];return null!=s?s:t}let s={"2024-nuances":"All instruments on this EP are synthetic (virtual orchestration mockups). The diptych is completed by Impulses (2024).","2024-impulses":"All instruments on this EP are synthetic (virtual orchestration mockups). The tracks Diana, Pulse, Nebula and Euphony also appear as sync pieces licensed to third parties through the Glocal Sound\xae catalogue.","2023-shenergy-within":"Exclusive sonic identity featuring an original sound logo and brand music; the DNA incorporates contemporary rhythms, a female voice, a descending three-note melodic motif and an open harmonic resolution. No other direction, production or artist credits appear in the public brief consulted.","2022-nace-hachedelara":"hachedelara operates in parallel with Glocal Sound\xae. Commercial and bespoke commissions are signed under Glocal Sound\xae; authored work under hachedelara.","2016-diana-navarro-yo-me-voy-a-querer":"H\xe9ctor's contribution covers the seed/initial improvisation phase (a session at his Madrid home with Diana Navarro). The final development of the track through to its album release was carried out by the artist and the co-composition team, without any further involvement from H\xe9ctor."};function l(e,a,t){var o;return"es"!==t&&a&&null!==(o=s[e])&&void 0!==o?o:a}},7382:function(e,a,t){t.d(a,{Q:function(){return n},r:function(){return r}});var o=t(2265);let i="hgs-timeline-node";function n(e){sessionStorage.setItem(i,e)}function r(){(0,o.useEffect)(()=>{let e=sessionStorage.getItem(i);if(!e)return;sessionStorage.removeItem(i);let a=0,t=()=>{let o=document.getElementById(e);if(o){o.scrollIntoView({behavior:"instant",block:"center"});return}++a<20&&setTimeout(t,150)};setTimeout(t,300)},[])}}}]);