music for meditation and hatha-yoga: if you stop your brain to think, listening to this... well...  the result should also be mathematical even in quantic domain for neuronal voltage.

XVIII.Stormy Monday from Bernhard Lang.
The Cold Trip II(2014/2015)
For voice, piano and Laptop.
Voice. Johanna Vargas (LAB51)
Piano and Laptop. Magdalena Cerezo (LAB51)
Sound editor. Matthias Schneider (Digitalmasters)

XVIII.Stormy Monday from Bernhard Lang (LAB51)

3D Audio installation.
Château de Châteaudun, FRANCE, October 28th - November 27th 2022.

Atlantic ocean recorded in Pornic with 1st order ambisonic microphone (Sennheiser Ambeo).

To be listened in situ on 8 speakers, from high-end audio manufacturer AMADEUS.

This work has been produced within the program Mondes Nouveaux.

Drawing by ƒcd.

Mersion  - Ambisonic Sound Installation - Séquence 1 (2022)

Pièce sonore 5.1.2, 22', 2025

« Une légende raconte que deux hommes marchaient dans le désert, chacun avec un livre sous son bras. Alors que la pluie se mit à tomber fortement, l’un des deux hommes se servit de son livre pour s’abriter. Toute l’encre du livre a ruisselé sur son corps, effaçant les mots des pages et colorant sa peau en noire. Dans le même temps, l’autre homme a mis son livre sous son bras. Ce dernier a conservé ses mots et sa couleur, il a dominé celui qui a perdu les mots.»

Athar Dakira propose une plongée dans les chants des harratines, nom donné aux esclaves et affranchis dans le Sahara au Nord et à l’Ouest de l’Afrique, où des formes d’esclavage restent aujourd’hui très répandues bien qu’elles soient officiellement abolies. Scandée dans des espaces mouvants et clandestins au cœur du désert, ces chants ouvrent des intervalles pour la récupération de leurs droits, de leurs identités et de leurs histoires confisquées.

La pièce sonore Athar Dakira nous plonge dans ces récits, dont les lignes rencontrent des sons tirés d'instruments façonnés à partir de la flore saharienne. Dans cet échange entre l'humain et la plante, la terre et la voix se prolongent l'une l'autre. La composition se déploie par vagues, dans un voyage archipélique où les silences forment le récit et où les phrases dissimulent autant qu'elles révèlent.


ATHAR DAKIRA

Projet soutenu par
Le Frac Franche-Comté, Besançon
La Villa Médicis, Rome
La Fondation Louis Roederer
Direction régionale des affaires culturelles Bourgogne-Franche-Comté
Mécènes du sud - Marseille

Légende
Abdessamad El Montassir, Athar Dakia, 2025.
Pièce sonore 5.1.2, 22 minutes
Composée en collaboration avec Matthieu Guillin
Voix: Maimouna, Zoho Mint Rwijel, Cheikh Teghra.
Texte: Anja Saleh
Traduction: Gabrielle Camuset.

Athar Dakira (binaural version only for headphone)

per organo 
(Francesco Filidei : organo della chiesa di St Eustache, Paris)

Mauro Lanza - "Negativo" (2006)

Studio 6 delikleri  Banquet

Here are some latin jazz compositions I recorded together with my friend Alex Mesquita (guitar) in his studio in Salvador da Bahia in early 2009. We invited two outstanding jazz musicians of the local scene: Rowney Scott (sax) and Alex Montenegro (bass). I did the composing  and the drums-percussion part.

Gravacoes Baianas

Antes da Chuva

Ensemble Ascolta
Der Sommer in Stuttgart Musik Festival
Stuttgart / Theaterhaus 
21.07.2019

E-Guitar : Hubert Steiner
Trumpet : Markus Schwind
Trombone : Andrew Digby
Cello : Erik Borgir
Piano : Felix Nagl
Percussions : Boris Müller, Lucas Gerin
Conductor : Christof M. Löser

****
Fade far away, dissolve, and quite forget 
What thou among the leaves hast never known,
The weariness, the fever, and the fret…

"Ode to a Nightingale”, John Keats


Photo ©  Berenice Abbott - Interference of Waves (1958-61)

The Consequent Being (2019) for E-Guitar and ensemble

Hier Oben

Das Konzeptalbum "Spiel im Spiegel" ist inspiriert durch die Geschichte "Alice hinter den Spiegeln" von Lewis Caroll (Originaltitel: Alice through the looking Glass) Es transportiert das englische Märchen aus dem 19. Jhd. in eine musikalische Gegenwart.

www.jancobystron.com/alice/

Zweisam

I am an Italian composer based in Paris, where I teach electronic music at IRCAM. 

In a constant pursuit of a theatrical dramatization of sound, I am deeply interested in electronic music, music of oral tradition and, for their physical presence and sonic qualities, bass instruments. By delving into the physical connection between the musician and the large instrument, I aim to transport listeners into visually engaging compositions, where micro-rhythms and grooves hold a central role. One of my main concerns is represented by an effort to develop structures based on techniques used for sound synthesis and electronic treatments. More generically it reveals my lifelong compositional aim: that is to attain a consistency between the approach in composing for instruments as well as for electronics, an approach that I attempt to integrate and structure through computer-aided composition tools that I personally develop. 

Raised in the "Pasolinian" working-class neighborhoods in the West side of Rome, and having spent most of my adolescence in direct contact with the street, I have always been drawn to the poetic violence of this reality. The tension between a personal inclination for introspection and a life deeply entrenched in a vibrant, yet challenging, urban environment has been a constant companion, shaping and defining my creative persona. 

In my music, this tension gives rise to a dramaturgy that oscillates between two extreme temporalities, leading to a dynamic interplay between kaleidoscopic movements and introspective explorations. One is tethered to overwhelming, vertiginous, overflowing, and compulsive rhythms, while the other is more intimate, poetic, and intertwined with the expressivity of the spoken word – like in the song cycle Gradual Abruptness (2022), on the verses of the Italian poet Amelia Rosselli (daughter of the anti-fascist partisan Carlo Rosselli).

These axes of research find contrasting artistic declinations, leading to the composition of [S]toccata (2019) and High Voltage Toccata (2021), – where the pianist and organist are challenged in a body duel with the instrument  – of I Sing the Body Electric (2020) – where the double bass becomes one organic body with the musician and with the electronics – in Overdrive (2020), a low-frequency trio, transposed into a distorted and paroxysmic world – or, again, in Lignes à Haute Tension (2023) for 12 spatialised cellos ¬– where the conductor, in the center of a network of instruments, controlling the trajectories of sound in space. 

Ongoing Projects :
On the Edge, for 6 soloists choir and electronics
Texts by Mina Loy
Premiere : SWR Vokalensemble / Donaueschinger Musiktage (Donaueschingen, DE) / 2024

Espaces Blancs, for soprano, clarinet, trumpet, double bass and electronics
Premiere : Commande d'État : Mathilde Barthelemy / Compagnie Angle Aigu / GMEM / Festival Propagations
(Marseille, FR) / 2025

Faro, for soprano, ensemble and electronics
Johanna Vargas / Ensemble Musikfabrik / Festival ManiFeste / IRCAM (Paris, FR) / 2025

For this project I have been selected as one of the 2024-25 Villa Medici Residents

The Consequent Being (2019) for E-Guitar and ensemble

cjscroccaro

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