Since his early days as a student in Cambridge, Marturet considered the “concert” to be an obsolete form of expression, from the standpoint of the creator. Despite his great success as a composer, over a period of seven years, he only wrote three scores that followed the traditional form of orchestral music: Notturno 1980, Sol por Occidente 1982, and Secretos 1986; Rubén Monasterios, the critic from the Caracas daily El Nacional had this to say about his debut: “The score written for this work by Eduardo Marturet is one of the most inspired of all those we have heard by contemporary Venezuelan composers in recent times.”