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Susan Campos—Fonseca:
La herida más luminosa

Release: Feb 27, 2026

Irreverence Group Music [IGM] presents La herida más luminosa [The Most Luminous Wound] released as part of the Espino Blanco (2015–2025 Anniversary Special Edition). Developed in collaboration with violist Manuel Loaiza and supported by IGM Lab (USA–Costa Rica), the work continues composer Susan Campos-Fonseca’s exploration of memory, body, and resonance across time.

Listen to La herida más luminosa

La herida más luminosa

  • Format: Single
    Release: February 27, 2026
    Catalogue: IGML-011
    GTIN/EAN/UPC: 4068992655550
    Producer: IGM
    Commissioned by Manuel Loaiza

  • Manuel Loaiza (Viola)
    Virginia Villalobos (Piano)

  • Susan Campos—Fonseca

  • n/a

  • Campos—Fonseca — La herida más luminosa

    01. La herida más luminosa

  • Commissioned by Manuel Loaiza
    Produced by Irreverence Group Music
    Music by Susan Campos—Fonseca

    Manuel Loaiza (Viola)
    Virginia Villalobos (Piano)

    Recorded & mixed
    by Carlos Escalante Macaya at Escuela de Artes Musicales, Universidad de Costa Rica,
    San José, Costa Rica
    Mastered by Julián De La Chica at IGMLab Music, Brooklyn, NY

    Album Notes by Susan Campos—Fonseca
    Artwork/Cover: Photography by Susan Campos—Fonseca
    Ⓟ & © IGM 2026

Composer's NOTES

The most luminous wound
By Susan Campos-Fonseca

La herida más luminosa (2025), as part of Espino Blanco (2015–2025 Anniversary Special Edition), belongs to a project developed by Manuel Loaiza and myself with the support of IGM LAB (USA–Costa Rica).

La herida más luminosa for viola and piano (2021) was premiered by Manuel Loaiza (viola) and Virginia Villalobos (piano) at Sala María Clara Cullell on March 27, 2025, with the support of the School of Musical Arts and the Institute for Research in Arts at the University of Costa Rica. The premiere took place during a special event alongside Costa Rican artist Rossella Matamoros-Jiménez (b. 1960), whose work inspired this composition.

The piece weaves surviving sonorities of Indigenous, mestizo, and mulatto chaconnes and sarabandes from the 16th and 17th centuries with post-minimalism and instrumental musique concrète of the 20th and 21st centuries. Based on Matamoros-Jiménez’s 9/11 Series (2001), the composition unfolds in three miniatures titled Indicios, echoing the artist’s original works that initiated the creative process.

Today, in a world where fascism devours human and non-human bodies alike, La herida más luminosa sonically reflects on the resilience of hope — sustained by a human love that survives and resists beneath the ashes.

La herida mas luminosa

Susan Campos—Fonseca
Manuel Loaiza & Virginia Villalobos
©Johanna Bacca, 2026

About the author

Susan Campos—Fonseca
Photography: self-portrait

Campos—Fonseca is Associate Professor at the University of Costa Rica (UCR). She holds a PhD in Music and a Master’s degree in Spanish and Ibero-American Thought from the Autonomous University of Madrid (UAM), as well as a Bachelor’s degree in Music Conducting (Orchestra and Band) from UCR. A teacher and researcher specializing in musicology, sonic studies, and the philosophy of culture and technology, her creative practice as an improviser-composer and multi-instrumentalist spans electroacoustic music, instrumental musique concrète, spectralism, and post-minimalism.