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This article presents an aesthetic approach to compositional process with the musical instrument developed by the Spanish composer Jose Luis Tora (Madrid, 1966). In the context of Tora’s personal poetics, the instrument is conceived as a physical, sounding body, always capable of acoustic possibilities that have not been actualised yet. The artist recognizes in the instrument a historical dimension, or ‘memory’, which confers beforehand meaning to instrumental actions. Based on theoretical positions close to those of his former teacher Helmut Lachenmann, (and also influenced by other musical, philosophical and artistic figures), Tora defends the necessity of a critical and reflexive effort in the compositional process in order to bring out new acoustic relations inside the instrument. In the following pages, the philosophical implications of this vision of the instrument are studied and contextualised within Tora’s personal poetics, analysing its traces in musical works such as wq.132 a creux perdu (2017), Kaspar Hauser Lied (1993) and in der bruchlosen Ferne, dans le crevasse du temps (2001).

Una cartografía del tacto: la poética del instrumento en José Luis Torá (Madrid, 1966)