Campanes al Vespre, for solo piano, is shaped by a long-standing fascination with the sound and symbolism of bells. Drawing on recurring gestures and sonic ideas in the music of Colomina i Bosch, the piece transforms bell-like resonances into a meditation on Madrid in the late winter evenings, when the city’s acoustic world takes on a reflective quality. In Campanes al Vespre, the piano writing, resonance, register, and carefully spaced chords coexist with moments of heightened emotion, creating a sound world that is at once tender, urgent, and contemplative. The music’s exploration of the liminality of sound in its decay becomes an expressive force in its own right, opening acoustic spaces for the listener to inhabit, connected only by thresholds of dissolution and remembrance. The piece follows the tradition of intimate, evocative piano miniatures explored by Mediterranean composers such as Palau, Montsalvatge, and particularly Mompou, where spacing, silence, and poetic gesture create, with great economy, a deep and rich emotional universe. Potential first piece of a projected piano collection titled El Quadern Gris.