Cecilia Arditto

Post Term: overtones

Distancia de rescate (2018)

for 8 low strings based on the homonymous novel by Samanta Schweblin
commissioned by Innovations in Concert, Montreal

Distancia de rescate is based on the homonymous award-winning novel (“Fever dream” in the English translation) by the Argentine writer Samanta Schweblin. My piece is inspired by the psychological atmosphere of the novel and its fascinating polyphonic structure, which inspired me to write a piece for a big ensemble.
In the novel, the characters are attached to each other by a “psychological string” which expands and stretches depending on emotional content, mostly related to fear. In my composition, the cellos are physically attached to each other by strings, one resonating on another. Extra pieces of strings tied to the instruments bridges and tailpieces connect literally each other occupying the stage.
Distancia de rescate is also a trip inside the deep heart of the string. Its sound world is based on the natural harmonic series, finding unexpected patterns in the upper harmonic series of the string. These bright and fragile sounds are like crystals found in the earthy residual tones of the strings.
• Video

Related works:

• Música invisible for cello (2008-2018)
• Circo Calder (2000)
• #4. “Electricité” from Musique Concrète -project page

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Distancia de rescate, for 8 low strings, stage disposition.

 

 

 

 

Circo Calder (2000)

for violin, viola and violoncello
selected for Concurso de Composición BAC-Arditti String Quartet 2000

Circo Calder is inspired on the Circus by Alexander Calder*, the American sculptor inventor of mobile and kinetic sculptures. Calder used to perform himself a vast, miniature circus conformed by a compendium of ingenious string mechanisms and wire artifacts. These artifacts are represented in my piece with different musical motives, which, like mobiles, spin around in loops. Each motive has it own weight, color, trajectory, and speed. The motives, when in interaction with each other, modify their rhythm, form, and behavior in analogy to Calder’s mobiles parts.
Calder used to build his kinetic sculptures with varied materials like stones, wire, wood, and pieces of metal. My spinning motives are made with different sound textures. Both circuses, Calder’s and mine, are a fragile compendium of small pieces to be performed live.

• Audio

Download score PDF

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Related works:

• Música invisible for cello (2008-2018)
• Distancia de rescate (2018)

 

*Le Cirque de Calder (1961) documentary film by Carlos Vilardebo