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Some works in Espinosa's opus follow a pattern or philosophy consisting on the reshaping of materials through different media and in different contexts. This is done by partially altering elements of a composition leading to diverging meanings, thereby creating versions, or different points of view about a particular aesthetic entity. The works as a whole keep an inherent unity as thematic and aesthetic progressions follow somehow in the manner of Monet, painted or sculpted in sound

The term symphony in the catalogue is not used in the traditional sense, but it refers to an almost impossible orchestral configuration, often at the limit of practicability. The intention behind this is the widening of resources of the usual orchestral conventions. Out of this need arose the concept of virtual orchestra, in which recorded sounds of conventional instruments or conventional orchestral configurations are altered (often very slightly) to produce an enhancement of the range and possibilities normally available in a particular instrument or orchestral group. New compositions pointing to aesthetic frontiers are opened in this way, producing newer views out of older works that serve as matrixes.

The word homage points to a specific structure, in most cases consisting of an initial section intentionally reminiscent of a passage of an existing work or style by a another composer, followed by an answer in Espinosa's particular ways (such as structures based on word patterns and geometric proportions or as alternative developments) as a diptych structure of two different yet related characters (for example: Messiaen's birds on one hand, and poetry in humans through geometric proportions on the other).

The string quartets were cast partly as an alternative to works that otherwise could not be performed (like extremely unusual orchestral configurations, or expensive productions) the quartets becoming then a sort of souvenirs from other works.

For a listing of his individual works, please open this Catalog file: catalog 2016.pdf


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