Aníbal Caño

I'm a composer and multi-instrumentalist. I'm drawn to the point where acoustic and electronic sound meet: traditional sounds that digital processing turns into new landscapes.

I trained as a clarinettist in Miranda de Ebro and Haro, and graduated in Composition from the Conservatorio Superior de Música de Aragón, where I worked with José María Sánchez-Verdú, Agustín Charles, Juan José Eslava, Nacho de Paz, Borja Quintas and Jesús Navarro, among others. Then came courses in orchestral conducting and an HE Certificate in audio production at the Catalyst Institute for Creative Arts and Technology in Berlin.

My works have been premiered at the Academic Capella in Saint Petersburg and the Tchaikovsky Concert Hall in Moscow, where Yuri Bashmet conducted Rewind-Play-Forward as part of "Best premieres of 2021". Recent projects include Vantablack, a performance with live painting, and Súcu-bot, for symphonic band, tape and live electronics, commissioned by V-G Musik Lab 2025.

I received an honourable mention at the Frederic Mompou Young Composers Competition. I've taken part in the Cuenca Religious Music Week and, as a producer, in the Resolution Festival in London. As a studio musician I work for international electronic artists and have released on labels such as Guetto-Guetto Records (Los Angeles) and Future Cuts (New York).

Each project is a space where the experimental and the intuitive meet. That search led me to build my own instruments, such as the Beambass. And none of it works without the performers: collaboration is part of the creative process, not a formality at the end.

Aníbal Caño componiendo
  1. 01

    Brief and references

    I listen to the artistic and practical aims of the project: context, deadlines, line-up and aesthetic references. The starting point is always a conversation with the performers and the creative team.

  2. 02

    Sketches and materials

    I build rhythmic and melodic cells, textures and formal outlines. When it helps, I prototype with electronics, tape and my own tools, such as the Beambass, to explore timbres and extended techniques.

  3. 03

    Working with the ensemble

    I refine the piece in reading or rehearsal sessions: writing, balance and, with electronics, spatialisation, guided by direct feedback from the musicians.

  4. 04

    Delivery and premiere

    I deliver the score, parts and technical materials, and stay with the production through set-up, sound checks and audio or video documentation until the premiere.