Cecilia Arditto (b.1966, Buenos Aires/Argentine, currently Amsterdam/The Netherlands)
Wilde Lieder Marx.Music Competition Ensemble Category Prizewinner

Cecilia Arditto's winning piece, The dearest dream, will be performed in Trier on Saturday 1 September, and in Birmingham on Tuesday 4 September.

Cecilia Arditto, Buenos Aires 1966 graduated in Conservatorio Julián Aguirre, Banfield; CEAMC, Buenos Aires and Conservatory of Amsterdam (cum laude). She studied Composition with Gabriel Valverde and Mariano Etkin among others.

She has been the recipient of numerous prizes and scholarships including: Arditti String Quartet competition (British Art Centre Buenos Aires); Antorchas Foundation 2002 and Premio Fondo Nacional de las Artes, Argentina 2002. Her music has been performed in several festivals: Ensemble l'Aleph, Francia; MATA Festival, New York; Gaudeamus Festival, Ciclo de Música Contemporánea  (Buenos Aires), Borealis Festival Norway and Rümlingen Festival Switzerland, among others.

Cecilia Arditto has been commissioned by NFPK, Stichting Kous and Orgelpark in Holland; KNM Berlin; residences: in Boswil, Switzerland and Camargo Foundation France and she lectures about her music in Buenos Aires, Berlin -UDK, Amsterdam Sound Forum, Conservatorio Municipal de Buenos Aires etc. Together with different soloists she works on her long term project “Musica invisible” where the “extended techniques” lead to “new listening techniques”. In 2009 Cecilia created Foundation Plan B, devoted to research in music-theatre with strong emphasis in music notation http://www.stichtingplanb.com. From 2012 her music has been published by Edition Plante, Berlin.

The dearest dream (10’)
Orchestration: fl/afl, ob/cor, cl/bcl, hrn, tpt, tbn, vln, vla, vlc, db + objects

The dearest dream is a piece based mainly on one note: it was composed using the spectrum of the note F-1, starting with A 440 (20th overtone) which progressively opens to the complete overtone series.

The sound changes during the piece from “sine wave” at the beginning to noise at the end, making changes in colour but always respecting the overtone hierarchy.  The rhythms used in the piece are mainly repeated notes, just slight fluctuations of the fixed sounds: in other words, they are variations over the same. The whole ensemble playing basically only one note and its overtones, represents the tradition that perpetuates itself (status quo), leading to movement but without real changes. The dialogue with the “outside objects” breaks the fixed order bringing an unorthodox musical dialogue. The percussion presents different objects that give soul to the rest of the music. He is a soloist, or better said, an anti-soloist. Some members of the academic ensemble also play some objects apart from their instruments, to show some sympathy to the percussionist.