¿Para qué el movimiento si el punto de llegada es otra vez aquí? (2005)
(What is the movement for if the reaching point is once here again?) for ensemble 
Recording: The Barton Workshop, May 25th, 2005, Kees van Baarenzaal, Koninklijk Conservatorium, The Hague.

¿Para que el movimiento si el punto de llegada es otra vez aquí?

all things shining…. (2000)	 for orchestra and choir
Recording: Orquesta Filarmónica de Bogotá, Irwin Hoffman, cond., Febrero 18 de 2005, Auditorio Fabio Lozano. UJTL, Bogotá, Colombia.
(fragment)

all things shining... (Movement e)

all things shining... (Movement k)

De la ausencia, la esperanza, de la esperanza, la fortaleza. (rev. 2019)

Fixed media for eight channels. For best stereo image result pan hard each left and right channels.

Pull (stereo version)

Three unwinding percussion lines with bursting accents from their chamber counterparts
Performer: Ensemble Royaal; Ric Sims, Counductor  

¿esperar que?

For choir and orchestra
Recording:  Bogotá Philharmonic Orchestra, Irwin Hoffman, conductor

all things shining... (Movement j)

all things shining... (Movement c)

Performers: Jorge Gregorio García, laptop; Fernando Rincón Estrada, laptop, controller, CD player
Performance and Recording: Matik-Matik
April 2010, Bogotá Colombia
Published in: lado b: nuevos encuentros sonoros 2010-2011,
Fundación Espacio Cero, Bogotá, 2011


Improvisación Libre 28042010 (excerpt)

Kiyomitsu Odai, laptop, Feedback Granulator Synth (SuperCollider); Fernando Rincón Estrada, laptop, live processing (SuperCollider)

Branching Noose #2

Stereo version. Original version for eight channels. All material was created and developed with SuperCollider.

Surfaces (stereo version)

Percussion trio and (multichannel)fixed media. 
Performance by Trio Kai Percussion. http://www.triokai.de
Recording: inSonic 2015, Kubus, ZKM, Karlsruhe, Germany. November 26, 2015

OnTessellation

In memory of the victims of Isla Vista Shooting, 2014

(Section 1) - 	        A breath of joy, me
(Section 2)  -	The experience of belonging
(Section 3)  -	 Alone is departure, silence
(Section 4)  -	Together is a mirror, sound
(Section 5)  -	The absence of air, noise
(Section 6)  -	 A bond of hope, us
(Section 7)  -	 Memory is strength.

Viola 1 - 	Jordan Warmath
Viola 2 - 	Carson Rick
Alto Flute - 	Adriane Hill
Cello - 	Kathryn Carlson

de la ausencia, la esperanza, de la esperanza, la fortaleza

All material was generated with SuperCollider

Pliegues Part 1 (Stereo Version)

All material was generated with SuperCollider. Extract from Pliegues (fixed media for 54.1 speaker system)

Pliegues Part 2 (Stereo Version)

Two improvisations with iterations of the same code and just two parameters varying in gradual changes for each iteration.

Random Is Not That Random

54.1 fixed media. All material was generated, synthesized and sequenced with superCollider.

Pliegues (stereo version)

Mixed media for violoncello and octophonic fixed media.
Violoncello - Jennifer Bewerse

Rust

Born in Bogotá, Colombia. Rincón Estrada has focused most of his work on chamber music with premieres by ensembles, such as Nieuw Ensemble, Les Jeunes Solistes, Trio Kai and The Barton Workshop. Mixed media chamber music involving live acoustic performance, real-time processing and fixed media is also part of his catalogue including performances among others from Ensemble Modelo62 and uiiachii. At the same time collaborations with solo performers have furnished pieces for soprano Beatriz Elena Martínez, harpsichordist Anne Marie Dragosits, and pianist Patricia von Blümroder. Electroacoustic works that include use of analog modular synthesizers to software development in SuperCollider, are also included in his catalogue. His work has been performed in venues of Europe, North and South America. Other artistic collaborations include interdisciplinary collective creation projects traversing contexts of sound art, dance and performance. Among them Invierno, described as an itinerating household sound installation and performance, as well as Restos Imaginarios, performance for solo dancer and singer. As a performer he is an active member of the CREATE Ensemble, where he has developed and performed custom-made digital musical instruments based on SuperCollider. Rhythm and timbre are recurrent materials for his compositional work, and presently both sound spatialization, especially for large multi-channel setups and microtonality are research interests of his creative work as well.


Fernando Rincón Estrada

Pinned to spotlight

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