zwei Gießkannen und die weißen Häusern 
for three performers and water cans.
Premiered in AvantGarten Festival, Liedberg (Germany) on the 9th of September 2018.
it’s almost a lullaby 
for Clarinet in Bb and Night Objects
Written for Ana Filipa Botelho, during the workshop “Get Together 2018” in Southampton University (UK).
four readers 
Performance-piece for 4 performers, 4 chairs and 4 books.
Premiered in Hochschule für Musik und Tanz Köln, 26.06.18 by
Arnau Rovira Bascompte – Camila Mourkazel-Ortega – Veronika Paleeva – Ilja Gussarov
i em trobo a mi mateixa caminant entre la boira 
(and I find myself walking through the fog)
For Wind Ensemble (13 players)
Premiere: 1st of May of 2018 in Köln (Kölner Phillarmonie, Acht Brücken Festival). Performed by HfMT-Köln’s Wind Orchestra and conducted by Hamed Garschi.
Algo sobre un cuerpo 
(Something about a body)
For String quartet
Premiere: 15th of December of 2017 in Köln (HfMT-Köln). Performed by Paloma Álvarez, Neus Navarrete, Nina Sunyer and Arnau Rovira.
This piece was selected as finalist in Città di Udine Composition Contest.
Film and Audiovisual Interactive Installation
Composed in September 2016 – May 2017, during an artistic residence period in “Etopia – Center for Arts and Technology” (Zaragoza), into “FUGA – Exploraciones Sonoras” programm (directed by Santiago Latorre and Eduardo Pérez Bona).
– Film (22’). Idea, artistic direction and music by Helena Cánovas. Audiovisual assistance by Miguel Carmona Oro. Premiered in Zaragoza, 18th May 2017.
– Audiovisual Interactive Installation. Idea and programming (Max/MSP/Jitter) by Helena Cánovas. Inaugurated in Zaragoza, 18th May 2017. In exhibition from May to August 2017.
For more info about the process, press, etc. go to ——> Daily
Portrait for M. 
for solo Guitar
Written for the spanish guitarrist Marcos Castrillo.
Premiered by Marcos Castrillo, 28th July 2017, in Museum Jorge Rando in Málaga.
Primera Palabra. About forgiveness, after Ashley’s words. 
Commission by Neopercusión (Spanish Percussion Ensemble). For 3 percussionists.
Premiere: 6th of March of 2017 in Madrid (Auditorio 400, Museo Reina Sofia).
Concerts: 9.03.2018 in Segovia (Ensemble TMC); 31.03.2018 in El Escorial (Neopercusión).
“Primera palabra –based in the text ‘Father, forgive them, for they do not know what they are doing’ (Luke 23:34)– is built into the idea of forgiveness, both the action and its context. For three percussionists but using a really reduced set, in this work an amount of irregular, imprecise and human geastures coexist to create an always-growing mass.
This piece was also inspired by the words of the American artist Ashley Paul, who lived in residence with the composer, and her vision about how the mistake and the doubt can be incited and be treated like sound material.
“I saw this incredible beauty in the act of failing” – Ashley Paul, Etopía, 21st December 2016
Slow motions 
for String quartet
Premiered the 18th of May of 2016 – Néstor Lasala, Natalia María Callejo, Clara Mascaró and Clara Aucejo – CSMA, Eduardo del Pueyo Concert hall (graduation concert).
Slow motions (2016) was written about the idea of human body while playing an instrument, focused in the effort made by the players. This short piece is built of every tiny little geasture the players do.
Aún dormirmos II. Jo canto, canto amb ells. 
For mixed choir and tape
Premiered the 18th of May of 2016 by Csma’s Chamber Choir – Elena Ruiz Ortega, conducting – Bernardo Pérez, electronics – CSMA, Eduardo del Pueyo Concert hall (Graduation Concert).
This piece is a revisitation of my work “Aún dormimos. Diferencias sobre pasado y presente”, written in 2015. In this work there’s a dialog between both pieces, between the recorded and the live choir.
Last night I was listening. in Mantova li 22 d’Agosto. 
for big ensemble (fl., cl., cl., fg., bass tbn., tba., pno., pno., acc., vla. I, vla. II, vc. I, vc. II)
Premiered in Zaragoza the 9th of May of 2016. Ensemble of Academia de la Nueva Música (CSMA) – Eduardo del Pueyo Concert hall (Zaragoza).
Second performance the 18th of May of 2016 on my graduation concert.
Talking to H. Richter 
Music for Hans Richter’s shortfilm “Filmstudie” (1926).
For flute (María del Barrio), clarinet (Adriana Callau), violin (Natalia María Callejo) and piano (María Elvira). Recorded and mixed in Zaragoza.
Premiere in Zaragoza the 5th of May of 2016 – Eduardo del Pueyo Concert hall.
They are not talking about us 
for Wind Orchestra, String Septet, Choir and Soprano
On a text by Emilio Lledó Iñigo
Commission by Miquel Rodrigo. Dedicated to Miquel Rodrigo, Llanos Martinez and Elena Ruiz
Premiered 30th November 2015 – Miquel Rodrigo conducting Csma’s Sinfonietta, María de los Llanos and Coro de Cámara del Csma – Zaragoza, Mozart Concert hall. “Ciclo conciertos de Otoño”
Concerts: 1.12.2015 (Zaragoza, Auditorio Eduardo del Pueyo, Miquel Rodrigo conducting Csma’s Sinfonietta, María de los Llanos and Coro de Cámara del Csma); 06.05.2017 (Segovia, Vicente Uñón conducting Ensemble TMC, Mónica Luz)
“They are not talking about us” was the biggest piece I composed during my Composition studies. It is based on texts by the Spanish philosopher Emilio Lledó which I took and reorder to create a new structure. The piece is about a land which had a dark past and now has no hope, despite the times might be better. In this work the use of the voice in the instrumental ensemble was an important topic, such as the aim of creating theatrical geastures.
Never There. Talking to Macbeth. 
for Oboe d’amore
Commission by Colectivo E_7.2. Dedicated to Pilar Fontalba, Juan José Eslava and Pablo Ramos
Premiered 10th November 2015 – Pilar Fontalba – Pamplona, Gayarre Theatre, “Ciclo After Cage”
Also performed in Donosti, Salamanca and Zaragoza
“Never there. Talking to Macbeth” emerges from a spoken voice, who pronounces words. the meaning of these words disappears; the rhythm and the unique sound of the voice is what we are going to hear in this work. The irregular –but natural– rhythm that is produced unconsciously when we read, think or talk.
This time the voice, the oboe, reads Macbeth in a intimate and close way.
It’s not about trombones but I like it 
for Trombone Choir
Commission by Coro de Trombones del Csma. Dedicated to Daniel Perpiñán
Premiered 11st July 2015 – Coro de Trombones del Csma – Valencia, Palau de les Arts Concert hall
Housekeeping n. 2. On és el gosset? 
for 2 percussionists, 10 performers and video
June 2015, currently unpremiered
Untitled Shapes 
for Soprano saxophone, video and tape
work in collaboration with Alba Font and Martí Llavina (VLA Collective)
Commission by Joan Jordi Oliver Arcos
Premiere: 20th May 2015 – Joan Jordi Oliver Arcos – Wien, Hochschule für Musik
Concerts: June/July 2015 (Campos, Art nit), September 2015 (Zaragoza, Radical dB Festival), April 2017 (Zürich), May 2017 (Mallorca, Fundación Pilar i Joan Miró),… always performed by Joan Jordi Oliver.
In this work we play between the ideas of figurative and abstractedness in human perception. This duality is represented in the visual medium as in the sound medium, reproducing images and sounds that can be recognisable or abstract to us.
¿Is it useful to try to understand the meaning of what is abstract?
¿Is it possible not to recognise what is figurative?
In 2014 Helena Cánovas Parés (composer), Alba Font Villar (audio-visual designer) and Martí Llavina Costa (graduated in media and communication) founded VLA Colletive to create together works where image converges with sound. In each piece, these three artists work simultaneously in collaboration in order to develop all the possibilities and combinations that image and sound can offer.
Music for Bergande 
tape-piece for the shortfilm by T. Wiesinger
Premiered May 8th 2015 – Zaragoza, Eduardo del Pueyo Concert hall
Aún dormimos. Diferencias sobre pasado y presente 
for Mixed Choir
Commission by the Government of Aragón. Dedicated to Elena Ruiz Ortega and Coro de Cámara del Csma.
Premiered 19th April 2015 – Coro de Cámara del Csma – Alfranca’s Palace
“Aún dormimos. Diferencias sobre pasado y presente” was the first work in which I explored and included theatrical geastures. The piece is about the character of ‘don Quijote’, as it was a commission to celebrate the 200 anniversary of Cervantes’ second book.
Noche oscura 
(introduction, transitions and finale)
for Chamber Ensemble and speaker
Co-work in collaboration with Rodrigo Ortiz, Diego Jiménez, Carolina Cerezo and Adrián García. Commission by OCAZ-Enigma.
Based on the homonymous poem by San Juan de la Cruz
Premiered 13th April 2015 – OCAZ Enigma and Rafael Campos – Zaragoza, Luis Galve Concert hall
for Spoken Voice
groc i boira finestra 
(fog and window yellow)
For Alto Flute, Viola and Piano. After Guerrero’s “Si tus penas no pruebo”.
This brief work comes from “Si tus penas no pruevo” by Francisco Guerrero (1528-1599). I tried to start out with his incredible piece and work with its sound, its estructure, its feeling,… not only by quotation; but, nevertheless, not forgetting where I came from.
World premiere in Zaragoza, Eduardo del Pueyo Concert Hall, on 19th of January of 2015.
for Female Choir
Premiered 18th December 2014 – Huesca, CAI Concert hall
Housekeeping n. 1 
Commission by Imma Parés (visual artist)
Premiered in October 2014 – Marsó Vell Exhibition Center
Talking to G. Braque 
for 4 pianos, 21 actors and live electronics
Premiered in June 2014 – Zaragoza, Eduardo del Pueyo
batega tot i tot està aturat 
(everything beats and everything stands still)
for quintet (Alto Flute, Bass Clarinet, Piano, Violin, Violoncello)
World premiere in Tel Aviv, Ran Baron Concert Hall, by the musicians of the Meitar Ensemble and the Tedarim project. Final concert for Contemporary Encounters II Course on the 31st of May of 2014.
There is a chair 
[designed by Alba Font Villar]
Conceptual project (Nov. 2013 – Mar. 2014)
“There is a chair” was a Conceptual project in which a chair became the main character. It was a critical experiment about the influence of social media in arts. “There is a chair” was supose to happen in the Conservatory of Aragón. Some of the students were involved and they had to act as fans of a brand new faked artistic movement in which one chair was doing some actions. The experiment was about how people reacted to that faked avantgarde movement.
Scene 8 – Resucita Loto 
Pasticcio opera composed by students of Composition at CSMA
Conservatorio Superior de Música de Aragón [Zaragoza. Spain]
Scene for Soprano, Mezzo-soprano, Tenor and Septet (Ob., Cl., Hn., Vlns. Vla., Vc.)