You can make music with any object that surrounds you. If you look closely enough. A choral work with empty bean jars and tomato sauce bottles. 
self-recorded at home by Cecilia Arditto - Covid-19 project

Anatomy Of A Jar (2020)

Música invisible para trompeta (2005) Anamorphosis

Música invisible para trompeta (2005)Chiaroscuro

Música invisible para trompeta (2005) Aerial perspective (flügelhorn)

tape files to be played together with a set of two ventilators (fans) as musical instruments
more info: https://ceciliaarditto.com/musique-concrete/

Le ventilateur - MOTORS (2015)

soprano: Carla Filipcic Holm, baritone: Maximiliano Michailovski, flute: Adriana Montorfano, trombone: Ingrid Bay, percussion: Eduardo Nicoleau, conductor: Mónica Opanski. 

live recording - Centro Cultural Ricardo Rojas, Buenos Aires, October 1999 

Canciones (1997)

Musica Invisible Para English Horn (2004)

Musica Invisible Para Oboe (2004)

for percussion quartet and wine crystal glasses
percussion: Darío Lipovich, Sofía Escardó, Daniel Serale, Miguel Magud; wine glasses: Daniel Judcovsky; conducter: Mónica Opanski
recorded by Luis Corazza, Museo Fernández Blanco, Buenos Aires , 1998

La madre del río (1998)

"Cuarteto" for SATB.
soprano: Carla Filipcip Holm; alto: Sofía Kousovitis; tenor: Ricardo González Dorrego; bass: Diego Alonso; conductor: Santiago Santero.
recorded by Gustavo Chab, Buenos Aires, 1998

Cuarteto (1996)

Hortus ensemble 
soprano: Alfrun Schmid; viola: Elisabeth Smalt; alto sax William Raaijman; 16th tone piano (Julián Carrillo’s piano); Maarten van Veen 
Artis Garden, Leiden – the Netherlands – Augustus 2005

Palabras (2005)

tape files to be played together with low-tech paraphernalia

Vinyle (2012)

Musica invisible for flute #1 (2003)

flute: Martin Huber
15th international composition seminar Boswil, Switzerland – october 2003
recorded by radio DRS2

Musica invisible for flute and dancer (2003)

Jan Hage (organ), Tatiana Koleva (percussion), Arnold Marinissen (percussion), Sunday 25 October 2009 - Orgelpark-Amsterdam

La Arquitectura Del Aire (2009)

Out loud for for violin, violoncello, piano and percussion. 
Ensemble Aleph's 30 years
for violin, cello, piano and percussion - 30” piece!
4 June 2013
Théâtre Dunois, France

This is an audio recording of a silent piece

Out Loud#1 (2013)

Musique Concréte (2015) by Cecilia Arditto
7 Music-installations for tape, magic lanterns and sound objects
Adriana Montorfano, flute and sound objects
Cecilia Arditto, composition and magic lanterns

Two performers manipulate sound-objects and slide-projectors in different spots of a dark room, producing performative-installations. The architecture of the space provides different sort of screens on the shape of columns, stairs, pipes, heating racks, walls, ceiling and the floor... every section of “Musique concrète” is played in a different spot.
Sound and visuals are made with low-tech paraphernalia in real time in a sort of live movie. Music, sound and space-design are organized in a score creating complete audiovisual scenes with simple means. One of the performers is in charge of the slide-projectors, the second one plays sound-objects and tapes.

#2. Machine a coudre (sewing machine) 
for sewing machine, scissors, nails, tape and crank-hand projector: a counterpoint between a pre-recorded sewing machine, scissors, nails and their live renderings conform the soundtrack of a live movie play by hand. The film consists on little dots made with a sewing machine falling down projected on a column. The film-tape occupies progressively the space around -the projector “sew the film”- so in addition to the projection we can literally “see the film”.

"When things are too concrete they become crazy".

La machine a coudre (2015)

Musique Concréte (2015) by Cecilia Arditto
7 Music-installations for tape, magic lanterns and sound objects
Adriana Montorfano, flute and sound objects
Cecilia Arditto, composition and magic lanterns
Eduardo Hernández Pérez, video
Daniel Nicolas, additional camera

Two performers manipulate sound-objects and slide-projectors in different spots of a dark room, producing performative-installations. The architecture of the space provides different sort of screens on the shape of columns, stairs, pipes, heating racks, walls, ceiling and the floor... every section of “Musique concrète” is played in a different spot.
Sound and visuals are made with low-tech paraphernalia in real time in a sort of live movie. Music, sound and space-design are organized in a score creating complete audiovisual scenes with simple means. One of the performers is in charge of the slide-projectors, the second one plays sound-objects and tapes.

#4. La radio...cette chambre des merveilles (The radio... that chambre of wonders) for live radio, tape and hand-crank projector. The tape is based on excerpts of Pierre Schaeffer’s voice from Solfège de l'objet sonore (1967). In a sort of home made electronics a live radio creates successive dynamic envelops shaping Schaeffer’s voice and the music examples introduced by Schaeffer. A hand-drawn movie goes together with the sound story in the shape of an analog music score.

"The score starts being a set of instruction to gain its own messy life".

http://www.ceciliaarditto.com/www.ceciliaarditto.com/mchome.html

La radio (2015)

Musique Concréte (2015) by Cecilia Arditto
7 Music-installations for tape, magic lanterns and sound objects
Adriana Montorfano, flute and sound objects
Cecilia Arditto, composition and magic lanterns
Eduardo Hernández Pérez, video
Daniel Nicolas, additional camera

Two performers manipulate sound-objects and slide-projectors in different spots of a dark room, producing performative-installations. The architecture of the space provides different sort of screens on the shape of columns, stairs, pipes, heating racks, walls, ceiling and the floor... every section of “Musique concrète” is played in a different spot.
Sound and visuals are made with low-tech paraphernalia in real time in a sort of live movie. Music, sound and space-design are organized in a score creating complete audiovisual scenes with simple means. One of the performers is in charge of the slide-projectors, the second one plays sound-objects and tapes.

7. La machine a ecrire (the typewriter) for xylophone and 2 slide projectors: the percussion player, sitting on stairs typewrites a fragment of a text from “Solfège de l'objet sonore ” by Schaeffer on a portable xylophone. The text is projected on the performer and stairs which is emulating a folded paper in an ever big typewriter. We see both the projected text and its maker doing it at the same time. This piece follows the logic of recursive actions that is when one event contains a smaller version of this same event simultaneously.

"Also seen in the packaging of cacao 'Droste' or the cheese 'La vache qui rit' "

La machine a ecrire (2015)

Musique Concréte (2015) by Cecilia Arditto
7 Music-installations for tape, magic lanterns and sound objects
Adriana Montorfano, flute and sound objects
Cecilia Arditto, composition and magic lanterns
Eduardo Hernández Pérez, video
Daniel Nicolas, additional camera

Two performers manipulate sound-objects and slide-projectors in different spots of a dark room, producing performative-installations. The architecture of the space provides different sort of screens on the shape of columns, stairs, pipes, heating racks, walls, ceiling and the floor... every section of “Musique concrète” is played in a different spot.
Sound and visuals are made with low-tech paraphernalia in real time in a sort of live movie. Music, sound and space-design are organized in a score creating complete audiovisual scenes with simple means. One of the performers is in charge of the slide-projectors, the second one plays sound-objects and tapes.

5. Electricité (electricity) for string telephone, tape and 1 slide projector: is the story of a cable (a thread in this piece) projected into a light circle. Three instances of the same cable come together in the same screen: one cable (thread) tied to a tin, its shadow and a third cable projected from a slide. Buzzing, shortcuts, statics, clicks and humming sounds conform the sound track accompanying the three threads. A modest tribute to electricity, in sound and image.

"Real electricity, the one which feeds equipments and lamps, is invisible".

http://www.ceciliaarditto.com/www.ceciliaarditto.com/mchome.html

Electricite (2015)

Musica invisible for cello #1 Manifesto(2018)

Musica invisible

Musica invisible for cello #2 Numbers(2018)

Musica invisible for cello #3 Double (2018)

anti-concerto for percussion and ensemble of 10 instruments
second prize of the Wilde Lieder Marx Music Competition 
Birmingham Contemporary Music Group
Dirigent: Michael Wendeberg


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.

The Dearest Dream (2018)

Arditti String Quartet (trio)
British Arts Centre, Buenos Aires, Argentina
November 2000
Violin: Graeme Jennings
Viola: Dov Scheindlin
Cello: Rohan de Saram

Circo Calder (2000)

2019 Rychenberg Composition Competition

Tissue (2019)

Distancia de rescate  for 8 bass strings
Innovations en concert
25 November 2018
La Sala Rossa , Montreal, Canada
Novarumori ensemble; 
Isak Goldschnider conducter; 
Émilie Girard-Charest, Emma Schmiedecke, Juan Sebastian Delgado, Vera Ronkos, cellos
Stéphane Diamantakiou, Pierre-Alexandre Maranda, Nicolas Caloia, Martin Heslop, double basses

Cecilia Arditto Delsoglio

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