Resplandecencias de la Nada (2002) 
for flute, clarinet, violin cello, piano, harp and percussion
Premiered en New York City by Ergo Ensemble (2002)

Resplandecencias de la nada
Pensaba en la imagen que nacía de un poema que hablaba de la luminosidad del aire a las 4:40 de la tarde en algún lugar del sur del Sur. Los pensamientos venían vacíos de palabras, con formas y colores, fluctuaciones de densidades y materiales indescriptibles entre islas de silencios. Silencios con remoto fondo de sonidos no muy diferentes a los sonidos que creemos oír en sueños. 
Tendemos a pensar en la Nada al estar envueltos de silencio…pero pronto descubrimos todo un mundo allí. Lo más cercano al silencio es nuestro propio aliento, luego la carne de los vientos, más allá, los susurros del mundo que crean otros mundos.
A las 4:40 PM en el sur del Sur, la tarde se transforma en un enorme diapasón, todo se suspende, gravita a su alrededor reflejando una luz de un poder cresciente y nos invita entrar. Resplandecencias de la Nada que eventualmente deviene silencio de resonancias ocres. Silencio nunca deja de sonar. 
Pensaba en la imagen que nacía de un poema. Esta música es el residuo de esa experiencia.
Dedicado a Adolfo de Obieta, arqueólogo del Misterio.

Resplandecencias de la Nada

Music by Iván Sparrow. For flutist and percussionist. Performed by Wilfrido Terrazas (fl) and Cory Hills (perc) live in Chihuahua, September 2010.

detalle núm. 5 - Iván Sparrow

Premiere performance (live) by Curt Cacioppo, John Donald Robb Composers' Symposium, University of New Mexico, March 2008. Recorded by Manny Rettinger, Keller Hall. Score available through the American Composers Alliance.

Christopher Shultis Devisidero (2002-2007)

#shoegaze #Electroacustic #jazz #Charlieparker

Chalie Charlie billie´s bounce

Somnium

Performed by Marcela Alfaro, mezzo; Orquesta Sinfónica de Heredia (OSH); Luis Víquez, conductor.
Recorded by Carlos "Pipo" Chavez / Musitica S.A.
Video produced by Camilo Castro
Teatro Eugene O' Neill
San José, Costa Rica

Si Chavela met Matta III for mezzo, piano, percussion and chamber ensemble

Performed by Fonema Consort
Elastic Arts, 11.16.18
Recording by Dave Zuchowsky
Photo by Marc Perlish

Si Chavela met Matta II for female voice, piano, percussion and fixed media

The Yuunohui series of compositions the first of which was Yuunohui’yei for cello solo is characterized by the total independence of the musical parameters. Asynchronicity of sound and rhythm is, in Julio Estrada’s view, a concept „closer to Nature and reality“ than „artificially“ produced synchronicity.
All Yuunohui compositions share the same formal plan even if introduction and final have different lenghts; therefore they can be performed in sync.
Estrada uses x/y graphs to determine a parameter’s intensity dynamically; therefore when applying the same graph to different parameters of the instruments involved the change in intensity should coincide even though the parameter must be different. To give an example: a steady increase in intensity can mean a glissando upwards, a crescendo, bow changes accelerating, or very slow vibrato going crazy.
An extended system of one or two staves is used employing additional symbols and accidentals for quarter and eighth of tones.
This is from a live recording without editing, Klagenfurt 2007

Julio Estrada (*1943) Yuunohui'yei

Performed by Fonema Consort:
Nina Dante, soprano
Dalia Chin, bamboo flute
Kathryn Schulmeister, Bass

Text by Mar Alzamora Rivera
Recorded by Jacob Sudol
New Music Miami Festival 2019