Soli I

The Solis belong to the more "experimental", high-modernist strand of Chávez's compositional output, in contrast to the more traditional character of most of the large-ensemble works.

3 for harp, 1967) and the orchestral compositions Resonancias (1964), Elatio (1967), Discovery, Clio (both 1969), and Initium (1973), features an abstract, atonal musical language based on the principle of non-repetition.

[1][2] Soli I was Chávez's first attempt at this idea of constant renewal, which avoids traditional techniques of sequence, imitation, development, and structural symmetry in favour of an endlessly unfolding counterpoint.

[5][6] Chávez gave it the title Soli because in each of its four movements one of the instruments assumes a concertante role, playing a main part or "solo", but without relegating its companions to a secondary level of simple accompaniment.

[9][13] Hemiola, cross-rhythms, and sharp articulations occur within its 6/8 meter, and numerous mute changes in the trumpet produce a constant timbral variety.