Cecilia Arditto

Post Term: melos

Tissue (2019)

for orchestra
1st prize Rychenberg Competition, Winterthur, Switzerland
Based on the photo series “Wounds of violence” by Adél Koleszár.

The human skin has its sonic representation on the whole orchestra like a flexible and elastic body, represented by big percussion instruments: timpani, thunder sheet, bass drum, lion’s roar, and tam-tam Big surfaces of skin, wood, metal, string and paper are hit, rubbed, stroked, scratched, and touched with the fingers by the percussionists, echoed by the rest of the orchestra. It is a “concerto” for big surfaces, where the soloists are not only the percussionists but “the matter itself.” The orchestra doesn’t play “around” or “with” the players but “inside”: in an implosive gesture, the percussionists “swallow” the orchestra which is playing from the heart of their matter. The orchestral tissue expands and contracts in various levels: density (from solos to full divisi), rhythm, and tone division (going from small microtones to wide intervals). Ornaments and microtones in this piece are used mainly to create textures, crafting the sound from “inside out” and modeling micro-variations. As a cantus firmus, Tissue uses a traditional Mexican song, “La llorona (The weeping woman”) close to the spirit of Adél Koleszár’s geographical and emotional landscapes. Lyrics refer to romantic love, mainly as suffering and death, and women as an object to be deathly loved and consequently disposed of.

Audio
Video (version 1)
• Video  (version 2) final Rychenberg competition
• Video explanations (percussion extended techniques)
• Comments about the piece by C. Arditto

• Press

Download score PDF

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Related works:

• Música invisible for flute (2003)
• Palabras / Words (2005)
• Life on Mars (2016)
• The dearest dream (2018)

 

 

Casi cerca / Almost close (2003)

Casi cerca / Almost close is based on the idea of suggestion rather than revelation. The music operates in the outer limits of perception; events are sensed rather than clearly perceived. Contour prevails over detail, the respiration of music is whispered.
The narrow dynamic range, the restricted instrumental timbre, and the blurred effect of the rhythmical combinations aim at creating music that is slightly ‘out of focus.’
Melodies are masked, melos being more important than the melody itself. Casi cerca is related to something possible to perceive but impossible to touch, impossible to see, impossible to hear. The word “casi” (almost) represents the fragile line that divides things that are close, completely apart.

• Audio
• Interview/article PDF
• Analysis

Related post/s in my blog:

“About notation” (English)
“Sobre el triunfo del fracaso” (Spanish)

Download score PDF

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Related works:

• Canciones (1998)
• Palabras / Words (2005)
• The daughter of the sorceress – opera page

 

 

Canciones / Songs (1999)

for soprano, baritone, flute, trombone y percussion   

Canciones is based on the idea of singing instead of song, melos instead of melody. Even though the act of singing is ceaseless, the songs themselves are never defined. Singers and wind instruments sing a song without song. Melodies are invisible threads that flow as the reminiscence of a song, the memory of something that never existed.

• Audio 

Download score PDF

Send download link to:

Related works:

• Casi cerca (2003)
• Palabras / Words (2005)
• The daughter of the sorceress – opera page