Cecilia Arditto

I studied music at the Conservatorio Julián Aguirre, Centro de Estudios Avanzados en Música Contemporánea (CEAMC) and Conservatory of Amsterdam (cum laude). I took composition lessons in Argentina with Gabriel Valverde and Mariano Etkin and analysis with Margarita Fernandez, among others. I’ve been traveling a lot and seeing the world since then, though my music always comes back to my first teachers.
Even though I have not met them, I consider Luigi Nono, Robert Bresson, and Cesar Aira my biggest influences. It is difficult to see those influences in my musical language, but they are definitely a powerful influence in the genesis of my musical ideas (especially from the non-musicians.)

I’ve been moving around missing my home town, Temperley, for a while.

Prizes and stipendia: First Composition Prize CCRR-CEAMC 1996, “Buenos Aires No Duerme¨ Prize 1998, Mention Concurso Radio Clásica, Concurso de Composición CEAMC-Arditti String Quartet, Antorchas Scholarship for two consecutive years, Fondo Nacional de las Artes Prize, etc. My music was selected for the “3rd Forum International de Jeunes Compositeurs de l’Ensemble l’Aleph, France, the “Boswil International Composition Seminar”, Switzerland and the “Music at the Anthology Festival” in New York for two editions. I recieved a residential grant at the Camargo residence for artists in France to work on my chamber opera “The daughter of the sorceress…”, a project together with the visual artist Luciana Arditto. I was guest composer at the Udk, Berlin on two ocassions and I was granted comissions from the NFPK, Holland, where I actually have lived since 2002. The following year I was invited to Borealis festival in Norway and Festival Rümlingen in Switzerland.

My music has been performed in Latin-American, USA and Europe.

I am involved in research on music theater with my own foundation, Stichting planB, a multidisciplinary platform of international artists based in Holland. We think that research within the frame of concrete productions are two complementary aspects of the same movement. Also, we strongly believe that working in the context of an affinity group brings isolated voices into a more consistent music language.

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