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After resigning from academia, he studied privately with Estrada. He was Nancarrow's assistant. He has lived in Berlin since 2003 and acquired his second nationality (as German) in 2009. His work has been requested or programmed at festivals such as Donaueschinger Musiktage (1992, 2015), Huddersfield Contemporary Music Festival (2007) or Klangspuren Schwaz (2016). Recent commissions: NDR Das Neue Werk, Ensemble Mosaik, American Society, Siemens Stifftung, Grazer Kunstverein, Fundación Alumnos 47, INM-Berlin, LIMINAR and Ensemble Contrechamps.


Selected works:

 

"Hearing in Bed", Ca. 19:00", 2020, Ensemble and video (Commission Ensemble Contrechamps and LIMINAR). "In the harrowing year of the pandemic, 'Hearing in Bed' weaves a fine stitch between screen discipline and rich, flashing sonic propulsion, shaping a necessary 'break ranks' and an indispensable ironic look at the viral age." (Rubén López Cano, FIMNME, Online).

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"Fatalismo Mágico", Ca 40:00", 2017, Performance and 2 vinyl discs. (Commission Alumnos 47 Foundation). "What is interesting in projects like this is the shift in artistic focus from a concern with objects and installations to a concern with subjects and the facilitation of their participation in artistic activities, the processes that take place and the effects of these on the artists and the participants themselves" (Bettina Land, Volkskultur Steiermark, Jahrbuch 2016).

Mexican National Anthem as I Recall it From my Childhood", Ca. 18:00", 2016, Ensemble, multi-channel video, solo voice and performance (Commission Festival CTM). "The text of our anthem, in its inherent beauty, violence and frightening Greco-Latin roots, has been a linguistic labyrinth for us Street-Mexicans . My 'play' (or my way of arranging a set of circumstances for our anthem) is about an abstract but quite clear collision between law and culture, disgruntlement and interpretation, language and meaning, 'reliable' identity and imposed military patriotism." (CS)

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"Teleprompter", Ca. 17:00", 2015, Ensemble und Video (Commission Simmens Stiftung-Ensemble Mosaik). In this piece Sandoval focuses on a teleprompter, a "discrete machine", mainly used in television "as a kind of magic mirror that allows the speaker to hide the act of reading and seem 'spontaneous', 'well-articulated', 'intelligent' and 'confident' to the audience" (Sandoval). According to the composer, articulated spontaneity is equated with intelligence, while reading signifies insecurity (a dichotomy that Sandoval transfers to the Western music tradition, in which concepts such as "expression", and "passion" are perceived as the antithesis of score reading) (Harald Hodeige, programme booklet, Ensemble Mosaik).

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"Antilegos", Ca. 14:00", 2015, Ensemble und video (Commission Ensemble Mosaik). Each of the musicians interacts not only with other musicians in the forum, but with their own videotaped actions (edited with a clear structural intention) in which musical and non-musical activities are recorded. In the perception of the audience, at least that is the intention of the composer, the musicians collide with themselves, as "contradictory clones". Hence the title of this work. (Michael Zwenzner, programme booklet Klangspuren Schwaz).

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"Maquina Latina", Ca. 21:00", 2014, Piano and Video (Commission Ernst Surberg).  In Maquina Latina [...] the live actions of the performers are often combined with time-lapse video feeds, giving the real-time of the live performance a special accentuation. (Marion Saxer, Positionen 107).

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"Mextoys", Ca. 98;00", 2003, Percussion, Dance, Video and Elektronik. Commission by Festival Eigenarten). Various cognitive objects are arbitrarily extracted from documentaries of daily life and used as the origin of a linear narrative of complex systems and the origins of creativity (CS, Online media).
"La Pasión Según la Gente", Ca. 34:00", 1999, Traditionelle Mexikanische Blaskappelle, Perkussion und Zuspiel. (With the support of diverse cultural institutions in Mexico). Orchestration of multidimensional sound-documentations of the popular representation of the Via Crucis in Mexico. La Pasion segun la gente (The Passion according to the people) is a testimony, a wonderful meeting of the educated and the popular, music and noise, the individual and the collective, tradition and creation. It is a rare moment of graciousness. (Conrado Tostado, CD Blooket, Quindecim).

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