Cecilia Arditto Delsoglio

Post Term: scientific inspiration

Gestalt (2014)

for piano and percussion
dedicated to duo Cuenco de plata – Juanita Fernández y Malena Levín

Gestalt shows diverse forms of communication between two performers and how each way of relating generates different music structures (Gestalt). In between music, sound, and space design, Gestalt is music in the form of a treatise to be perceived in-between categories.

The piece is based on 10 sections in the form of scenes. Each scene speaks about different ways of relationships between performers, their link with objects, musical instruments and the design of the stage, which is changing over time.

  1. Proximity: Close objects conform a group
  2. Continuation: Moving objects conform a line
  3. Focal point – Point of interest captures attention
  4. Good continuation. Grouping parts into a unique whole
  5. Common region- Events are related when in the same area
  6. Figure and ground
  7. Similarity – Similar features link events
  8. Symmetry – Looking for balance in composition
  9. Common fate
  10. Past experiences

• Video

Related post/s in my blog
 “Si están cerca… Montevideo” (Español)
“Again” (Español)
“Trayectorias” (Español)

Download score PDF

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Related works:

• The magic (2005)
• Esta tarde leo a Adorno / This afternoon I read Adorno (2013)

• Time machine (2011)
• Gespleten piano
• Split piano (2011)

Viaje de las frecuencias en el agua / Travel of frequencies on the water (2018)

for bass clarinet, piano and double bass
dedicated to Low Frequency Trio
winner of the Low Frequency Trio competition

Viaje de las frecuencias en el agua (Travel of frequencies on the water) was inspired by von Karman vortex street’s theory, which studies repeated patterns in fluids, as swirling spirals in smoke rings or winds surrounding a tropical cyclone.
In my piece, the fluid medium is the water, played in a literal way by using a straw and a siphon; the bass clarinet is also prepared with water inside its bell, which causes fascinating acoustical phenomena. In analogy with von Karman’s theory, which amalgams the vulnerability of fluids with the power of the force that molds them, my music combines the fragility of sound with the solid rhythmical structure of the music.
Viaje de las frecuencias en el agua is dedicated to my father, eternal lover of the utopias of Jules Verne and to trioLF3, my musical submarine.

• Audio
• Video

Download score PDF

Send download link to:

Related post/s in my blog

“Las versiones y las obras” (English)

Related works:
• La madre del río / the mother of the river (1997 – rev. 1999)
• Maps of the Water (2007)



Palabras / Words (2005)

for soprano, viola, baritone saxophone and 1/16th tone piano.
comissioned by NFPK, Holland

Palabras uses words in two different ways: words as sounds, and words as meaning.
Written for 1/16 tone piano, saxophone, viola and voice, the microtonal division of the tones remains the fluctuation of the spoken voice.

The piece is divided into five different blocks of spoken language that go from the proper spoken voice (Part IV) to a melodic line (part II) which is sung by the four instruments. Every block or surface has a different quality in relation to different kinds of discourse.
Julian Carrillo,s  1/16 tone piano was a primary inspiration for this piece and its relation to the spoken voice. The microtonal divisions of the piano are in the frequency range of the spoken language.

• Audio
• Video (excerpts)
• Analysis
• Press

Related works:

• Música invisible for flute (2003)
• Life on Mars (2016)

The Cartography and the Magic (2005)

for soprano, baritone, oboe, harp and percussion.
part of the opera “The daughter of the sorceresses…”
can be performed independently

The piece is inspired by the dialectical relationship between chaos and order, being the mathematical structure the frame for aleatoric behaviors mainly from the percussion set: ping pong balls falling (the classical example from the chaos theory), water flowing, peas poured from one tin to another, spoken texts, etc. All framed in a strict counterpoint of drops, whispers and a balloon exploding.
The percussion set, among other sound objects, includes pouring water from one glass within a given rhythm. The indeterminacy of the water falling down is struggling against the fixed rhythmical frame. I like to think about indeterminacy and control like two complementary features of the same movement.

This piece is part of the opera The Daughter of the Sorceress… but can be also played individually.

• Go to “The daughter…”  project page
• Video (excerpts)

Zand / Sand (2004)

The inspiration for this piece came from the observation of a picture of “von Karman Vortex Street” where, under certain circumstances, a complex spiral drawing turns into a fluid stream.
The idea of this twisted pattern changing in time, both in length and in its internal speed, could be translated into musical terms under different perspectives. From this physic phenomenon, I took the idea of this always-expanding movement in a three-dimensional space (the air) and the complex spiral pattern structure.
Physics, like music, is made of rules but mainly of exceptions. It is in between these ideal conditions and real possibilities where questions arise.


Viaje de las frecuencias en el agua