Using atonal language, Sanchez’s music testifies to his cultural roots, without borrowing from folklore, however. One example of this is his work Tatei Ja Urima (goddess of water) for flute, oboe, clarinet, piano, violin and cello. This piece, which subjectively explores the Huichols’ ceremonial rites and their vision of the cosmos, features a personal approach to modern composition techniques. Tlahtolli, for clarinet, percussion and voice (commissioned), is another example.
After the Montreal premiere, Musicworks magazine (No. 76, Spring 2000 Toronto – Regards sur le temps réel, p. 57) wrote:
“...The beautiful music that Sanchez composed is highlighted by two different poems, written at quite different times, but with similar content. The music – aggressive at times, then sensual and captivating – made one think of a primitive culture or the emergence of life. Tlahtolli stole the show...”
His recent work also bears witness to his life in Canada. Estampas del amanecer (songs of dawn), a piece for flute and clarinet inspired by Canadian landscapes, was premiered at the Sacred Space of the Canadian National Cemetery in Beechwood as part of Chamberfest’s “New Music, New Places” concert series. Impressions d’Hiver for violin, clarinet, piano and cello, commissioned by Chamberfest 2012, was premiered at the new music concerts of the National Gallery in Ottawa.
In 2017, a series of songs inspired of haikus by Matsuo Bashō were premiered at the Mazzoleni Hall of the Royal Conservatory of Music. The pieces were composed and dedicated to his son Gabriel Sanchez Ortega, bass-baritone an emerging artist from the Toronto area who also interpreted.