In the world of Ayzoh!, sound matters as much as image. It shapes the atmosphere of a scene, lingers between spoken words, and gives space to what can’t be said. For years, Hilario German Baggini has been crafting these soundscapes. An Argentine composer and musician, he doesn’t just write music for our films—he listens to them. Often composing in real time as he watches the footage, Hilario gives voice to the unspoken, creating emotional layers that move with the story rather than explain it.
Based in Córdoba, Argentina, Hilario brings decades of experience and a deep understanding of South American musical traditions. As the founder and leader of Del Barrio, he has reimagined the textures of Argentine folklore without turning them into nostalgia or spectacle. His work is rooted in instruments like the quena, quenacho, sikus, tarka, charango, and tenor saxophone—not as decorative tools, but as living languages.
Del Barrio’s interpretation of Misa Criolla by Ariel Ramírez is a clear example of this approach. It’s not a tribute, nor a cover, but a personal reading of a cultural cornerstone, delivered with clarity, respect, and a refusal to imitate. In their hands, sacred music becomes a shared space for memory and invention.
Hilario’s compositions explore the meeting point of tradition and change. References to artists like Astor Piazzolla emerge not as name-drops, but as part of a wider conversation between past and present. His music doesn’t try to explain Argentina; it moves inside it.
With Ayzoh!, Hilario works intuitively—often composing directly on location or shortly after viewing raw footage. His scores aren’t background music. They’re a dialogue: with people, places, silences, and the rhythms of daily life. His presence on our team is quiet but essential.
We don’t call him a collaborator because it sounds professional. We call him that because it’s true.
