For the work in this movie I had to program a lot of sheppard-tone generators using puredata, supercollider, reaktor, and chunk. Each code had its own quality and grain, like an old recipe that subtly changes with little variations. Years later I learned to programin music5 and done also the original Risset's code to sound. Although the same quality that he've got is almost impossible to reproduce if the render is not done on tape.

Sheppard tone for Zama final scene (2017) collab. with Lucrecia Martel

Soundtrack for the film The Intruder (2019) by Natalia Meta. Fugue scene
Organo Klais Op. 1912 Centro Cultural Kirchner, Buenos Aires Argentina

Apomixis Proto-Espora (2019) collab with Natalia Meta

Jo Kondo, Walk 
for flute and piano

Sebastian Rividdi, flute
Luciano Azzigotti, piano

Jo Kondo - Walk

Euglenoids, für Oboe, Bassklarinette, Trompete, Viola und Orgel, Uraufführung
(2022)
Megumi Nakajima, Oboe
Rebecca Minten, Bassklarinette
Kip Cleverley, Trompete
Luciano Azzigotti, Orgel 
Paula Sanchez, violoncello

Recorded at 
Halt auf Berlangen Concert Series,  HKB
Thursday 22nd December 2022 
@Spitelkapelle Berner Generationenhaus

Program Note:
Euglenoids is a piece for 4 instruments and the Kuhn-1945 2 manuale organ of the Kapelle Burgspital Bern. A  music inspired minimally by cellular respiration. When oxygen is combined with other components, a multiplication of energetic substances and waste is produced. But in Euglenoids this process is decentralised. Here, the instruments are distributed in the space of the chapel. The organ also appears disarticulated by the equal use of the energy of the bellows and its extinction. The 'waste' of this organistic sound explodes into multiple harmonics and randomic differentials depending on the construction of each organ, and which can be modulated in turn by the opening of more notes. As a composition of the waste. The distributed instruments take these sounds and generate planes of timbre evolution according to the dynamic definition of glissandi, generating sonorous objects deployed equalised in space. The part does not require a conductor being synchronised with chronometers.

Euglenoids (2022)

Cuando muere, al marchitarse sus pétalos, una esfera perfecta se forma dentro de la flor.
Como el subte, las venas, los paraguas, y los caminos de las lombrices... los sistemas arbóreos crecen independientemente de los materiales que los conforman, desplegando la misma geometría. Es que en realidad vienen a llenar los surcos que ya existen en el espacio.
El sonido de la flauta es un remolino transformado en turbulencia, aire que se fragmenta y divide en forma de espiral. Aquí la re-alimentación de una escucha técnica transforma a los agujeros en resonadores, al dúo como el punto de intercambio simétrico.

Vilanos (2014), by Mei flautas

Aquenios [para cuarteto de saxofones]

Rosa María Rincón, soprano.
María Carmen Salguero, alto.
Borja Sánchez, tenor.
Santiago Marín, barítono.

Ensamble Música Energía
Festival de Música de Badajoz
Meiac, Badajoz, España, 2015

Aquenios (2014) by Badajoz Conservatoire Sax Quartet

Vilanos (2014)by Samara Pierpaoli and Natalia Abate

Floema (2015)
for sextet

by conDIT.container ensemble

Audrey G. Perreault, flute
Scott Lygate, contrabass clarinet
Juna Winston, trombon
Carlota Caceres, percussion
Marianne Salmona, piano
Myriam García Fidalgo, cello
Leonhard Garms, conductor

premiered at Echoraum , Vienna, on December 2015



Floema (2015), by conDiT.container ensemble

espinor (2016)
by Ricardo Cuadros Pradilla
Teatro Tornavia , UNSAM
October 21th 2016
Encargo del Ministerio de Cultura de La Nación



Espinor is an extended classic guitar piece. The system consists of a contact microphone amplifying the sound of the guitar body from the bone, a webcam located behind the bridge looking towards the headstock and a PD patch processing the audio and video in real time.
The software is in charge of recording fragments of the piece indicated in the electronics staff (top line). These fragments are then played back in the video by varying their speed, direction and start time (annotated on the lower line). Each color correspond to a different buffer.
The video is organized in two symmetrical overlapping layers, one of them is the direct camera shot that visualises the guitarist's movements and the second one , a superimposed layer that reproduces the audio/video samples.The second layer is mirrored, being a structural detail of the piece. So the result will be a symmetrical visualisation of the real and delayed time events.

A complex web of three modes that rotate in a row, the sound, the gesture and the time. The recording of immediate actions and their contrapuntal execution generates and scalar constructions in time of great precision. The organizational unit extend to a complementary resonant object made of gesture, sound and documentary actions in real and past time. The use of a numerical memory as a notation parameter equals the condition of the recording at the level of live events, except that they are mirrored symmetrically like the spinorial model, a vector model of rotation of elementary particles. The guitar is not only a sound generator but also a geographical and spatial, quasi-scene generator where the guitarist appears inside it as well as outside. It was commissioned by the music area of the National Ministry of Culture for the Guitarras del Mundo festival.

Espinor (2016), by Ricardo Cuadros Pradilla

Mycelium is a vegetative growing phase of  a fungus. Mycelia do not have flowers or seeds, but are composed of self-replicating strands. With these metaphors I organized a system of gestural growth throughout vertical and horizontal harp axes, replicating and proliferating different sound artifacts, from a fishing line tangled between the strings, to cat brushes, needles and fan motors. The piece was created in a close collaboration with Gabriela and premiered at Biblioteca Nacional Argentina on November 2017

Micelio (2017), by Gabriela Czerednikow

Bruno Mesz, piano
Centro Cultural Recoleta

Iedro (2009) by Bruno Mesz

Bulle(2016-2017)
Hervor, burbuja, placa de Casimir, fluctuación de punto-0, lenguaje construido. Esta pieza fue compuesta especialmente con y para Géraldine en Ginebra, Berlin y Buenos Aires.

Bulle(2016) by Géraldine Thébault

http://zztt.org/es/gallery-category/vocal/#jacquard

Jacquard is the second interlude for solo tenor voice of "El Universo en un hilo", the microopera commissioned by TACEC-Teatro Argentino de La Plata (2017). Text by Marina de Caro.

Luciano Azzigotti

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