A new work commissioned by CEPROMUSIC–Centro de Experimentación y Producción de Música Contemporánea, INBAL
Premiered on March 28th 2026, CDMX
Premiered on March 28th 2026, CDMX
A Piece Made of Shards.
What do we listen to when we listen? This question opens a wound in contemporary musical thought: that of a world deafened by its own devastation. JADIS SONORO: CATACLISMO SILENTE is a philosophical and sonic journey in response—a work that explores improvisation as composition from the ruins.
Commissioned by CEPROMUSIC for its IMPROPIA series, this piece traces a poetics of ruin, charting a path from the shattered artifact to a living cartography of feeling. It operates as a laboratory of sound wherein improvisation bores into the core of a note, searching for the precise point of its rupture. Here, each sonic shard functions as a palimpsest: it preserves the memory of its former self alongside the scar of its remaking. The piece assembles these remains—fragments that carry the trace of their origin and the mark of their fracturing—rather than aspiring to organic totality.
Weaving together Pascal Quignard's Jadis, Edgar Morin's anthropoetics, and Aby Warburg's pathosformeln, the work follows the migration of ancestral emotions, witnessing how they are transformed and how they find new form within the very instant of creation. Through a score-map of twenty-four linking postcards, the research advances what I term improsophy—a love for the wisdom of the unforeseeable—that enables what "no longer is" to persist as ethos.
In an era of compressed listening and the soulless barbarism of machines, this work proposes the recovery of hearing as a naturata, ethical act: listening, ultimately, as the act of inhabiting the world through its fragments.
What do we listen to when we listen? This question opens a wound in contemporary musical thought: that of a world deafened by its own devastation. JADIS SONORO: CATACLISMO SILENTE is a philosophical and sonic journey in response—a work that explores improvisation as composition from the ruins.
Commissioned by CEPROMUSIC for its IMPROPIA series, this piece traces a poetics of ruin, charting a path from the shattered artifact to a living cartography of feeling. It operates as a laboratory of sound wherein improvisation bores into the core of a note, searching for the precise point of its rupture. Here, each sonic shard functions as a palimpsest: it preserves the memory of its former self alongside the scar of its remaking. The piece assembles these remains—fragments that carry the trace of their origin and the mark of their fracturing—rather than aspiring to organic totality.
Weaving together Pascal Quignard's Jadis, Edgar Morin's anthropoetics, and Aby Warburg's pathosformeln, the work follows the migration of ancestral emotions, witnessing how they are transformed and how they find new form within the very instant of creation. Through a score-map of twenty-four linking postcards, the research advances what I term improsophy—a love for the wisdom of the unforeseeable—that enables what "no longer is" to persist as ethos.
In an era of compressed listening and the soulless barbarism of machines, this work proposes the recovery of hearing as a naturata, ethical act: listening, ultimately, as the act of inhabiting the world through its fragments.
THE WORK (PREMIERE)
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INTRO
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MOVEMENT I
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MOVEMENT II
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MOVEMENT III
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Antropoética Improsófica de la Escucha
(Concert Text)
(Concert Text)
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