1 Mambo – Francisco Colasanto 3:16

2 MEMORIA – Diego Ratto 8:21

3 La Puerta de Ariel – Fernando Curiel 6:26

4 For Dancer and Projection – Willyn Whiting 2:38

5 dies exitii – Egid Joechl 11:00

6 Contigue Reiterazioni (di corpi, di gesti, di spazi…) – Gabriele Boccio 15:58

7 Migranti 2.3 – Luigi Morleo 15:29

Total 63:08

Mambo (2024) – Francisco Colasanto (1971) ARG

Mambo is a piece created from the work of Javier Álvarez called ‘Mambo a la Braque’. It is my way of paying tribute to a great composer and dear friend. Through this piece I want to celebrate one of Javier’s passions: dancing.

Francisco Colasanto was born on 22 June 1971 in Buenos Aires, Argentina. He lives in Morelia, Mexico since 2006. He holds a PhD in Music Technology from the UNAM and a degree in Electroacoustic Composition from the UNQ, Argentina. He has received the following awards: Grant from the Spanish Ministry of Culture (2000), Grant for creation from the Fundación Antorchas (2004), Juan Carlos Paz Prize awarded by the Fondo Nacional de las Artes (2005), Commissioned by LIEM, Museo Reina Sofía, Madrid (2006), Live Electronic Music Competition 2006, Harvard University, Giga-Hertz Award 2009. ZKM, Karlsruhe. Germany, Ibermúsicas Award 2013, Programme for the Promotion of Cultural Projects and Co-investments 2018. He is a full-time Academic Technician in the Bachelor’s Degree in Music and Artistic Technology at ENES-Morelia, UNAM. He has been Deputy Director of the Mexican Centre for Music and Sonic Arts (CMMAS) since 2006. www.drzoppa.com

MEMORIA (2024) – Diego Ratto (1988) ITA

A tempestuous journey through time, into the profound recesses of memory. Hidden and distant realms of moments and snapshot recollections, a personal odyssey guided by the echoes of childhood sounds.

Diego Ratto, an Italian composer and sound designer currently based in Los Angeles, CA, boasts a diverse portfolio spanning film music, acousmatic compositions, video-art installations, and concert music. He holds a PhD in Music Composition from the University of California, Santa Barbara (UCSB). His educational journey includes studying film scoring at UCLA and completing a Master of Music in electroacoustic composition at the Royal College of Music in Stockholm (KMH). He also received separate Bachelor of Music degrees in jazz guitar and electronic music from the Music Conservatory “A. Vivaldi” in Alessandria, Italy. His compositions have been selected in several international calls for works and have received awards in competitions such as: Prix Russolo 2022, Sound of Silences – Film Scoring / Romaeuropa Festival 2020, Prix CIME 2017 – International Confederation of Electroacoustic Music, WOCMAT 2018 International Phil Winsor Computer Music Competition, ULJUS 2024, Reel Loud Festival 2024, ULJUS 2023, Corwin Award 2023, IEMC 2022, Prix Russolo 2024, MA/INtermedia 2024, Golden Lala Awards 2020, Musicworks Magazine Electronic Music Contest 2020, Rimusicazioni Film Festival 2018, and Electroacoustic Contest EFME 2016 (Santa Fe, Argentina). www.diegoratto.com

La Puerta de Ariel (2023) – Fernando Curiel (1967) ARG

La Puerta de Ariel is an Electroacoustic work, octophonic multitrack. It seeks to introduce us to certain auditory scenes that are eventually presented to us. Here there is a sonorous territory where wide timbral layers are developed within a thin line between everyday and distant sonorities, that is to say that acoustic spaces are developed with simple and distant materials as well. The source sound materials used were obtained from the front door of my friend Ariel Gato’s recording studio.

Fernando Curiel is a composer, interdisciplinary artist, performer and pedagogue. His musical production is located between new music composition and interdisciplinary production. His creative research focuses on the exploration of space and theatricality, especially mixed media, chamber and symphonic music, the use of electroacoustic/acousmatic technology, video art and theatre, as well as composition/improvisation. He is co-author of the book ‘The contrabass flute – A guide to sound resources – 2021. https://fernandocuriel.net

For Dancer and Projection (2020) – Willyn Whiting (1993) CAN

For Dancer and Projection started as an accompanying work for Danielle Willis’ video dance work Celestial Bodies, which also served as her M.F.A project for that semester (Fall 2020). The sound source for the piece, a drone of five sine tones, is decidedly simple and abstract, much like the direction of the choreography. The granulation of this sound-source is inspired by the particle effects that Willis designed to be projected onto her dancer.

Willyn Whiting is a Canadian composer of acoustic, electronic and mixed music. His works have been performed/presented in Canada, the US, the UK, Germany, Italy, Estonia, Austria, Ecuador and Taiwan. He is a graduate of the University of North Texas, University of Western Ontario and University of Toronto. www.willynwhiting.com

dies exitii (2024) – Egid Joechl (1982) AUT

The day of doom is near. But the four horsemen of the apocalypse no longer ride. They swim (cruise ships), they drive (car traffic), they fly (airplanes) or they no longer move at all (Internet). I wonder if they still show up? Not a day of mourning, not a day of joy, just the last. Time for a requiem. In the broadest sense, the piece is structured like a requiem. The piece mixes alienated musical and non-musical elements to create pseudo-liturgical music.

Egid Joechl was born on December 7, 1982 in Kitzbühel and grew up in the area. He studied composition and music theory at the University of Art in Graz and took part in various master classes. He writes works for different line-ups and different styles, with a focus on New music and Sound installations. In 2018 he was Artist in Residence in Lisbon and in 2019 in New York. In 2020 he was awarded the Hilde Zach Composition Scholarship from the City of Innsbruck. Egid Joechl currently lives and works in Innsbruck. www.joechl-music.com

Contigue Reiterazioni (di corpi, di gesti, di spazi…) (2022) – Gabriele Boccio (1996) ITA

This piece explores the timbral and expressive potential of actions performed on the piano’s mechanical components—strings, pegs, keyboard, and more. It unfolds as a “geographical map” across the instrument’s body, with a continuous flow of transforming sound objects. Synthetic materials, derived from a MIDI piano and processed electronically, guide the polyphonic and formal articulation. The title reflects both the physical proximity of explored areas and the interplay between sonic layers. “Reiteration” also refers to processed piano gestures—performed by Simone Benedetti, to whom the piece is dedicated—and recursive fragmentation through feedback and granular processes.

Born in Terni (Italy) in 1996, he is an electroacoustic composer and cellist. He earned a Master’s degree with honors in Electroacoustic Composition from the Conservatory of L’Aquila, studying with Agostino Di Scipio, and received a diploma of merit from the Accademia Chigiana under Alvise Vidolin and Nicola Bernardini. He attended courses with Curtis Roads, John Chowning, James Dashow, Barry Truax and others. His works have been presented at major festivals such as ArteScienza, Nuova Consonanza, and Ecos Urbanos. In 2022, he was a jury member at the 66th Venice Music Biennale. He is currently a PhD artistic researcher in L’Aquila. www.youtube.com/@gabrieleboccio

Migranti 2.3 (2020) – Luigi Morleo (1970) ITA

MIGRANTI 2.3 is the fourth project of Luigi Morleo’s project dedicated to migrants from all the world, in particular to peoples who are currently experiencing economic and social hardship that starts from the Middle East and passes through North Africa and then lands on the coasts southern Italy. The digital support was made using samples recorded for this project with the “radong” (tibetan tuba) of the soloist Michele Jamil Marzella. The samples resume the phase of breathing, the attack and the emission of sound. These three phases are proposed in different forms and presentation times.

Luigi Morleo an Italian percussionist and composer. His works have been played by the Maracaibo Symphony Orchestra-Venezuela, Rome and the Lazio Orchestra-(I), Clermont-Ferrand Conservatoire Orchestre-(F), Denver Young Artists Orchestra-USA, Ensemble National Music Academy-Ukraine, Orchestra Sinfonica Metropolitana Bari-(I), Halleiner KammerOrchester-Austria, Percussive Arts Society-Nashville-USA, Federation Bells-Melbourne-Australia, New York City Electroacoustic Music Festival – USA, Festival MUSLAB-Mexico, New York University – USA, Festival Futura Electronic – (F), Festival En Chair et en Son – (F), Jasmin Vardimon Company-Ashford-(UK), Ensemble Academy STANISLAW MONIUSZKO-Gdansk-(P), Ensemble University-Miskolc-Hungary, Japanese Arts Network, Festival Atemporanea-Argentina, Tsonami Festival International de Arte Sonoro-Colombia, Festival Sur Aural-Bolivia, Radiophrenia Glasgow (UK), University of Oklahoma-USA, Washington State University-USA. www.morleoeditore.com

Producción del Fonograma y Masterización: Andrés De Robina – Cero Records

Curaduría: Pedro Castillo Lara – MUSLAB

Diseño Gráfico: Juan Pablo Betancourt

Cero Records. Derechos Reservados. 2025