Primera Manifestación (2024)
For septet (or sextet in a world without a theremin).
1(picc,fl,bfl).0.1(cl,bcl).0 - perc(1): glsp, 3wb, SD(sn off), BD, 3tom - theremin(1) [opt] - 1.0.1.1
Voices Below (2025)
For percussion, violin, oboe and fixed media with optional live electronics.
"Voices Below" is an electroacoustic work inspired by whale songs and their connection to the natural world. The work combines fixed media, acoustic performers, and optional live electronics.
Pixels (2025)
For quadraphonic fixed media,
Pixels transforms a single photograph of flutist Wilfrido Terrazas mid-performance into a sonic anatomy. Three channels directly process the image’s pixel data through audio software to generate. The fourth channel introduces a human heartbeat, creating a stark biological counterpoint to the digital abstraction. This core juxtaposition — raw physiology against fragmented visual data — explores the tension between embodied presence and mediated memory, deconstructing a captured moment into both glitch and pulse. Developed during doctoral research at UC San Diego, the work interrogates photography as unstable sonic code. (Acoustic version in development.)
Mundos auditivos (2025)
Live Spatialized Oboe Performance with 32-Channel Immersive Audio
An ongoing exploration of the oboe's sonic architecture through seven distinct auditory worlds, spatialized across thirty-two channels in UCSD's Experimental Theater. Using a custom Pure Data environment and Loupedeck controller, each breath transformed into swirling clouds of microtonal harmonies, metallic resonances, and spectral ghosts that moved through the architectural space.
The performance documented here represents the first iteration of an ongoing interdisciplinary project where long-exposure photography (1.5 to 2-minute exposures captured during the performance) will be processed to generate new music, translating light and shadow into sonic events.
The Unmoved Mover (2025)
For oboe, violin, lute, tuba, perc, piano, koto, two voices
The Unmoved Mover. This piece is a draft of the overture of an opera in development that follows Lucrezia, a very strong and intelligent woman caught in the grip of metaphysical vertigo, fighting with the argument from Tomas Aquinas’s First Argument for the existence of god: “Whatever is in motion is moved by another.” As she traces the chain of cause and motion from wind to sun to the first split atom, she confronts a chilling paradox: if every action, even thought itself, stems from a prior cause, is her will truly free? The entity, embodied by the mezzo-soprano, serves as the inner voice. Intimate, ambiguous, sometimes tender, and sometimes cruel, anxiety and doubt. She deepens the questions. She mirrors Lucrezia’s fears back at her, not to offer comfort, but to doubt her certainty. Where Lucrezia seeks clarity, the Conscience dissolves it. The opera is a representation of the fragile relationship between reason and doubt. This is about metaphorical games bargaining for time, meaning and redemption.