The work of the Swiss-based Argentinian composer Luciano Azzigotti is characterized by the invention of systems where a specific type of relationship between instruments, beings and the environment can collide. He looks to reinterpret the basis of vibration as an immanent force and the musical object as an enactive experience by incorporating amplification and multimodal mediation as necessary materials in his writing for instruments, using dynamic notation, video, and spatial processes.
He was awarded the Juan Carlos Paz Composition National Prize 2017, Condor de Plata 2021, and has received commissions and awards from Fondo Nacional de las Artes, Ministry of Culture Argentina, Centro Cultural de España, Art Mentor Lucerne, Cultural Promotion Council Buenos Aires, CALQ, Fundación Telefónica, Melos/Gandini, Centro de Investigaciones Artísticas, and Colon Theatre. Luciano teaches Internet Music and Multimedia Composition at Haute école de musique de Genève and Instruments, Science&Music, Composition Seminars at UNTREF (Buenos Aires).
educational sites
past curatorial activities
press
| 2021/ | https://www.cambridge.org/core/journals/tempo/article/abs/darmstadter-ferienkurse-2021/670E63F666F414A0A244522408780042 |
| Einarsdóttir fave a breathtaking performance of Luciano Azzigotti's Kokon (...) given a mad funhouse quality that left the audience mystified. | |
| 2020/ | https://loudandclearreviews.com/the-intruder-afi-fest-review/ |
| Meta’s imaginative vision also appears in the film’s unique sound design, such as a scene where an organ erupts with an avant-garde, otherworldly melody courtesy of composer Luciano Azzigotti, an arresting moment steeped in gothic intrigue. | |
| https://www.indie-eye.it/cinema/festivalcinema/el-profugo-di-natalia-meta-berlinale-70-concorso-recensione.html | |
| The soundtrack also stands out for the interesting contribution of the young (sic) composer Luciano Azzigotti | |
| https://variety.com/2020/film/reviews/the-intruder-review-el-profugo-1203510194/ | |
| Luciano Azzigotti’s score weaves in and out of the mix, while the choir subplot lends some unearthly soundtrack cuts | |
| https://www.sentieriselvaggi.it/berlinale70-el-profugo-di-natalia-meta/ | |
| …but in a similar system it is not surprising the attention that the movie-maker gives to the aspect of the musical comment, either with the choices of not too obvious repertoire, else with the remarkable electro-acoustic soundtrack by Luciano Azzigotti | |
| http://www.opinion.com.bo/opinion/suplemento.php?a=2019&md=0428&id=16428&s=9 | |
| Great music | |
| 2019 | https://ladiaria.com.uy/articulo/2018/10/panorama-del-monfic/ |
| Imposing the music by Luciano Azzigotti | |
| 2018/ | https://www.eldia.com/nota/2018-3-14-3-36-24-vuelve-el-tacec-arte-marciano-para-inspirarnos-a-cooperar-entre-nosotros-espectaculos |
| An experimental Center should be a collective dance retraining us to breath | |
| http://revistaotraparte.com/semanal/discusion/sobre-la-utilidad-del-disco-y-la-musica-contemporanea-argentina/ | |
| The first piece, which not unintentionally opens the albun, is 'Vilanos", from Azzigotti, for amplified flutes. Throughout eleven minutes, the author works with a repertoire of tiny gestures, breaths, keystrokes, what are known as "non-pulmonic sounds", and also converts each hole in the flut into a kind of closed tube with its own spectral components. The extendede tehcniques of the flute brings, from the electricity's hand, to areas that could be shared with acousmatic music. The piece surprises by the power which is derived from the minimum. | |
| 2017/ | http://www.conlosojosabiertos.com/una-pelicula-1790-llamada-zama-dialogo-lucrecia-martel/ |
| That sound is called shepard tone, it's an auditory illusion, described in the 70's; it's a feeling of endless fall. There is a lot information about that on the internet. As many things of Zama, it appeared due to that modern habit of not being ablet to go to sleep without derive on youtube for a couple of hours. Guido Berenblum comissioned Luciano Azzigotti, a musicians who love unusual experiments. | |
| 2015/ | http://magazine.icareifyoulisten.com/current-issue/issue-12-taking-the-concert-hall-out-of-contemporary-music/ |
| about Translucent Spaces for flute , 2 trombones, trams y and stoplights…) ” The specificity of the moment (and all that makes up that moment) is what is valuable about site-specific music. If during a performance, trams stop in front of the site, or church bells strike time, or rain falls loudly and relentlessly, all the better! That exact moment will never happen again, nor should it. Unlike concert performances, site-specific music cannot chase uniform perfection and purity. What might be an external flaw in a concert performance is essential in a site-specific performance” | |
| 2014/ | http://www.clarin.com/extrashow/musica/Condit-Auditorio_cheLA-compositores_jovenes-Ciclo_de_musica_cotemporanea_del_Complejo_Teatral_0_1252675181.html# |
| It is true: even in the field of extended techniques there better works than others, and its clear that Azzigotti’s duet, Vilanos, for two flutes, does not exclude certain beauty of an hypnotic illusion, that the piece shares without doubts with the virtous performance of MEI duet, comprising Patricia García and Juliana Moreno | |
| http://www.pagina12.com.ar/diario/suplementos/radar/9-10072-2014-10-05.html | |
| Azzigotti-Marchiano-Jacoby triad found a subtle form of intervention, being a major achievement given the complexity of space. You could catalog the current intervention as a conceptual piece, which is equal to say that the pregnancy of the idea is a strong feature of the work. | |
| 2013/ | http://www.telam.com.ar/notas/201308/30553-el-condit-una-forma-de-llevar-la-musica-al-barrio.html |
| “LA: Let say that music, as a complexity of poetry, is a latent form of collective inner voice. Now imagine that after all subjectivities and individual conceptions of musical agents wheter they are, poet, composer, performer, etc., art objects that manage to move culturally around link us with certain underlying spirit that drives us as society. In it, very differents poly-times and cultures lives in. So, could just one type of concert to answer to a vital spirit and shared common sense?, With this question we set out to make the concert as another material to be composed, making tangible the a-priori relationships whereby each musical tradition builds its idea of concert, an play with them.” | |
| http://www.icareifyoulisten.com/2013/02/blending-auditory-visual-impuls-2013/ | |
| Many successfully emulated the concept of repeated, irregular sequences of movement and sound, while others worked with the fascinating idea of counterpoint that is both visual and auditory. Luciano Azzigotti’s work used light-hearted material to create overlapping character narratives like the lines in a Bach fugue. | |
| 2010/ | http://www.clarin.com/extrashow/musica/Valioso-estimulo-composicion_0_392960853.html |
| The set of work is very interesting, although Luciano Azzigotti’s work ( Qualia ) is more clearly cutted by the complexity of its surface or its musical actions, a non crowded complexity, but expressive and highly ambiguous, with veiled melodies and some bergian quality , whose dialogue with some tradition turns it at the same time highly original. | |
| http://www.clarin.com/rn/arte/instalaciones/Malestar-cesa_0_362963805.html | |
| A key element of the proposed sensory experience proposed by these works is sound design the artist developed with Luciano Azzigotti | |
| http://www.lanacion.com.ar/1265967-los-hilos-terrestres | |
| Pereda made editing the videos along with Ferlat and worked the soundtrack with Luciano Azzigotti , crucial to the work’s outcome . With a successful balance between the sounds recorded in natural areas and electroacoustic ones, soundtrack, reworked especially to suit the requirements of the space, empowers suggestion of images, both with that other form of silence sometimes prove to be the sounds of the wilderness or the echo of a mighty thunder that accompanies the extreme solitude of the landscape of the Puna. | |
| http://www.revistaenie.clarin.com/notas/2010/05/18/_-02197002.htm | |
| Thus arose, mix of fiction and reality, “The time of water”, the impressive video installation, with unforgettable soundtrack by Luciano Azzigotti. A gem. | |
| 2008 | http://www.revistaenie.clarin.com/notas/2008/09/06/_-01753233.htm |
| Also released from the restriction of the subject, but not so much from technological seduction, Luciano Azzigotti choose to open the game of interactivity from a vessel that calls to imagine translating ancient and future records of their voices. |