The collection of works that make up Manuel Contreras Vázquez's second monographic album Tarió represents a valuable contribution to Latin American and global culture. When we delve into the poetics displayed, we cannot help but notice an evident double approach to the composer's inclinations: on the one hand, his commitment to those unresolved issues that plague the history of Latin American people through the particular pains of Contreras's birth country, Chile; and on the other hand, an almost obsessive predilection for a complex timbral exploration, articulated by a temporality that invites – and educates – the listener to attentive and reflective listening. His particular approach to silence emerges in the composer's works as a space that, far from being empty, is inhabited by sounds and words that float in the memory of each one – without inducing a linear meaning – but rather appealing to the emergence of a human sensitivity linked to fundamental existential questions.

The works presented here have an additional value since they are the result of extensive research that ranges from the use of phonetics to the aesthetic approaches linked to the notion of space that inspired this corpus of works and that incorporates rigorous explorations on the use of sonic resources of instruments, voices and their multiple combinations.