"Como Río Sin Final", es una sentida balada soft rock, nacida de la colaboración entre el creador y una inteligencia artificial. Partiendo de un loop armónico original concebido años atrás, y enriquecido con una composición basada en la colaboración con la IA. 

La letra, profundamente reflexiva, explora la fragilidad de la vida y el consuelo en la promesa de un 'más allá'. Melodías de guitarra conmovedoras y una base rítmica suave arropan la voz en esta búsqueda de esperanza. 

Ideal para momentos introspectivos, escenas de despedida, o narrativas que buscan profundidad emocional con un toque de rock melódico y accesible.

Versos:

Qué frágil es la vida tan fácil de quebrar
Los amigos se van sin tiempo de hablar
De un momento a otro la risa se va
Y la canción se apaga en un triste llorar

Oh vida que corres como río sin final
Hoy estamos aquí mañana es irreal
Un día más allá donde las estrellas están
Viviremos con la fuerza del bien sin más

La luz del sol se oculta en un cerrar de ojos
Y lo que fue alegría se convierte en enojos
Quiero abrazarte antes de que el tiempo huya
Que no se pierda el amor que construya

Oh vida que corres como río sin final
Hoy estamos aquí mañana es irreal
Un día más allá donde las estrellas están
Viviremos con la fuerza del bien sin más

Más allá del dolor más allá del pesar
Hay un cielo eterno que nos va a esperar
Deja que mi canto al viento pueda volar
Para encontrarte allí donde el bien es hogar

Oh vida que corres como río sin final
Hoy estamos aquí mañana es irreal
Un día más allá donde las estrellas están
Viviremos con la fuerza del bien sin más

Como Río Sin Final

- Part Pianist, part composer, part poet, part IT technologies technician/programmer, 100% musician. -

Otoniel Rojas is a Dominican pianist and composer celebrated for his unique fusion of classical music with the rich rhythms of his homeland. Born in Santo Domingo, Dominican Republic, he was immersed in a vibrant musical environment from an early age. His father, an accomplished musician, served as the principal flutist and later as the piccolo player in the National Symphony Orchestra of the Dominican Republic, instilling in him a profound appreciation for music.

At just seven years old, Rojas began his formal music education at the National Conservatory of Music, initially focusing on the violin. Simultaneously, he nurtured a passion for the piano, teaching himself to play and developing exceptional sight-reading abilities. His prodigious talent quickly became evident as he accompanied his father in numerous public performances, church services, and television appearances across his native country.

Determined to refine his pianistic skills, Rojas pursued formal piano instruction, excelling in performance, counterpoint, music theory, and solfège at the conservatory. Despite his musical successes, he briefly explored an engineering career at the Universidad Autónoma de Santo Domingo (UASD). However, his unwavering dedication to music led him to resume his artistic journey.

Seeking broader horizons, Otoniel relocated to the United States to study at Brooklyn College of the City University of New York—a hub for international students and a springboard to esteemed institutions like Juilliard. Under the mentorship of acclaimed pianist Agustin Anievas, a celebrated American classical pianist known for his recordings of Chopin and Rachmaninoff. Under Anievas' tutelage, Rojas flourished, graduating with a Bachelor's degree in Piano Performance, earning the distinction of Cum Laude. His exceptional musicianship was recognized when he won the conservatory's piano competition, performing Beethoven's Piano Concerto No. 3 with the college orchestra.

Deeply involved in the college's musical community, Rojas participated in chamber music ensembles, served as a piano accompanist, and sang in both the specialized chamber choir and the conservatory choir. He expanded his compositional skills under the guidance of Robert Starer, an Austrian-born American composer known for his contributions to contemporary classical music. His collaboration with the university's ballet program led to his composition "A Passing of Time" being incorporated into the ballet's repertoire, which was performed internationally by the university ballet in Prague.

To further diversify his expertise, Rojas studied conducting with Karoly Kope, chamber music with Stoddard Lincoln and Marion Feldman—a distinguished cellist and professor at New York University—and delved into music history under H. Wiley Hitchcock, a leading authority on American music.

Upon returning to the Dominican Republic, Rojas continued to compose and perform. He was commissioned by the Sinfónica del Cibao to create "Mozartina," an orchestral piece that masterfully intertwines traditional merengue rhythms with themes from Mozart's "Jupiter" Symphony. The work features the tambora, a traditional Dominican percussion instrument, symbolizing a fusion of his classical training and cultural roots. "Mozartina" premiered with the Sinfónica del Cibao and was later performed in a revised version by the National Symphony Orchestra in Santo Domingo under the baton of Caonex Peguero, a prominent Dominican violinist/conductor/composer.

Today, Rojas continues to share his music with audiences worldwide. Through platforms like SoundCloud and published sheet music, he brings a unique blend of classical and Dominican musical traditions to listeners and performers alike. His journey reflects a lifelong dedication to music and a commitment to bridging cultures through his art.

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