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In 2013 a building exploded due to a gas leak.  22 persons died, most of them were students. In 2019 a documentary was made and Carlo Seminara and Alejandro Blum were in charge of the composition and direction of this song. The participants were his percussion students, relatives of the victims and the firemen who recovered the bodies that were buried in the debris.



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Listening to the work of Carlo Seminara is extremely easy because it is close to the entire planet. What is difficult is knowing for sure where Carlo comes from, from which country, from which race? From which tribe he comes? Really, he comes from the oldest, the most beautiful, the clearest and most flat. Carlo comes to reminds us with his music that he is absolutely Latin American. This work takes us to the deepest part of the Latin American people, their free-thinking and their conviction. Carlo speaks with all instruments, all genres wide open without borders or policies in between, only with the reason of the Latin American spirit. The sun, the beach, the mango, the coffee, the “asado”, the Arepa, the ceviche, all scrambled and all singing the same thing with the same force that detached us geographically from the African continent but it never abandoned us culturally.
Diego Alvarez Muñoz (Venezuela)
"Variedad rítmica y deriva histórica, que llega a tocar la raíz afro con el carnaval santafesino. El nuevo disco del percusionista es un hallazgo por donde desfila un sentir alegre pero consciente de su dolorido espesor"

Leandro Arteaga - Pagina 12 [Rosario 12] (Argentina)

Barcos from my musical perspective is a contextual album in which you can see a solid and clear vision of many folk cultural mixtures that they have given life to an instrumentalist to create a particular own style or perhaps a different way to express the music. Listening to this album is like a trip to many parts of the world without ever losing the spirituality of the departing port. Without a doubt, “Barcos” starts in a new era, which represents freedom to express good music from a totally different perspective and based on an element as important for music as percussion. It’s a great pleasure to me have had the opportunity to be part of this amazing album. 


Marvin Diz (Cuba)

Carlo Seminara is a percussionist specialized in Latin American music. He is also a composer, arranger, and professor. He is Italian, but was born in 1980 on Denmark during his family political exile, and lived for 5 years on Copenaghen. Since 1985 he lives in Rosario, Argentina. This fact was very important to determine his identity and the way to be on music, academic and artistic fields. 

He began his studies on latin american percussion in 1998. He studied and made field works on Argentina, Uruguay, Brazil, Peru, Paraguay and Cuba. It’s important to mention his teachers: Ramiro Musotto (Argentina, Brazil) , José Luis “Changuito” Quintana (Cuba), Justo Pelladito (Cuba), Marvin Diz (Cuba, U.S.A.), Tony Urdaneta (Cuba), Thobos Lubamba (Congo, U.S.A.), Rafael Santa Cruz (Peru), Nicolás Arnicho (Uruguay), Daniel “Tatita” Márquez (Uruguay), Hugo Alcázar (Peru), Juan Medrano Cotito (Perú), Nei Sacramento (Brazil), Gabi Guedes (Brazil). 

He’s founder and director of the Latin American Percussion on the Superior Institute of Music of Rosario, “Instituto Superior del Profesorado de Música “Carlos Guastavino”.  

Between January and February of 2018 he made a trip to North and Northeast of Brazil, teaching on some Universities: Carlos Gómes Foundation (Belém, Pará), UFRB (Cachoeira, Bahía), UFBA (Salvador, Bahía), Instituto Cervantes (Salvador, Bahía). 

He is working on his first book, named “El tambor como fuente” (The drum as a source), focused on building a technical and theoretical framework to study, analyze and play the afro Latin American music. 

He was the founder of the NGO “Tocolobombo” involved on the research, development, and promotion of percussion, with which he made so many activities, especially an International Festival of Percussion “Rosario Repercute”, being the director on 5 opportunities (2012 - 2017) 

On his artistic way, Seminara is a tireless explorer, that browses on the Latin American music, fundamentally the one crossed by the “Tambor” (drum), resources, stories and content to rework and intervene from rhythmic matrix to the orchestrations and express his own experiences, in such a way that he returns us a powerful, interesting and very personal kind of music. 

He made 3 soloist albums: A Cada Santo Una Vela, 2010. Barcos (2014). Tango ia Candombes (2018). The last one won the “Rosario Edita” award on the “Experimental Music” category. 

It’s important to mention his participation on: V Festival Internacional de Percusiones “PercuSonidos” (Tampico, Mexico - 2009) III Festival Internacional de Cajón Peruano (Lima, Peru - 2010) V Encuentro Internacional de Percusión (Santiago de Chile, Chile) IV Festival Internacional de Cajón Peruano (Lima, Peru – 2011) I Festival de Musica Afrodescendiente (Lima, Peru – 2011) I Encuentro Tambores en la Mitad del Mundo (Quito, Ecuador – 2011) IV Festa do Ritmo (Belem do Pará, Brazil, 2012) X Encuentro de Músicos Populares de Argentina (Rosario, 2013) I Festival Internacional de Percusión del Ministerio de Cultura de la Nacion “Toque” (CABA, Argentina, 2014) II Festival Internacional de Percusión del Ministerio de Cultura de la Nacion “Toque” (CABA, Argentina, 2015)




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