At a time when we are witnessing the passivity of the West in the face of the genocide that the Israeli state is committing in Gaza against the Palestinian population after decades of occupation and armed conflict, it has been very difficult to approach the Sephardic culture to compose this piece. But to imagine a past of coexistence in the Andalusian era and to think of a music for that historical garden seemed to me something worthwhile considering the approach of the project by the Islamic Culture Foundation and the Sephardic Museum.

From the compositional logic of Kleos the question has been: what would that garden-orchard sound like that the catalog of species chosen for the museum's garden defined.

Searching for sound recordings with which to compose has led me to music in which traits of that era have been maintained, which speak to us of the role of music that roots peoples expelled from their contexts. During the research process I have worked with more than 600 audios to weave sound connections between the Andalusian traditions in the Arab and Sephardic spheres:

• The maintenance of musical traditions by the Sephardic population in their diaspora after the expulsion from the peninsula (kantikas and Sephardic ritual music in Ladino): songs from the Sephardic music archive on 78rpm records, from the archive of documentation of musical memories 'Trezoro de kantes de sefarad' and musics appearing in the book 'Recording History:Jews, Muslims, and Music across Twentieth-Century North Africa' among others.
• The traces of Andalusian music structures and forms that have been maintained and developed in Arab music in different parts of the Mediterranean after their expulsion from the peninsula: Musical styles such as the Al-Âla (الآلة) in Morocco, Al-Gharnati (الغرناطي) in Algeria (Tremecén) or the Ma'luf (المألوف) in Tunisia, along with musical forms such as the Moaxajas (مُوَشَّح muwašššaḥ), Nubas (النوبة) or the Zejel (زجل). I have also used pieces by Palestinian musicians such as Rawhi al-Khammash or Riad al-Bandak who composed Andalusian forms and were expelled by the Israeli state from their land after the Nakba in 1948. The sound sources come from the archive of the Center for Arab and Mediterranean Music (CMAM), from the archive of the AMAR foundation or from the fantastic catalog of Les Artistes Arabes Associés among others.

The piece ends with Rawhi al-Khammash playing with a Sephardic woman recorded in Tetouan, raising the human and historical tragedy of thinking how the Israeli state can exercise against the Palestinian people a violence analogous to what the Jewish people have suffered in other historical moments. Composing this piece from a Spanish state whose history is partly that of the Moorish and Sephardic expulsion, and in which sadly we are now witnessing again retrograde and inhuman ideas about the migrant population by the extreme right, is hard and paradoxical.