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Cerini, Gabriel (b. 1954, Mendoza). Argentinean composer, now resident in Spain, of stage, orchestral, chamber, choral, piano, and electroacoustic works that have been performed in the Americas and Europe.
Mr. Cerini studied transverse flute with Patricia Da Dalt, Lars Nilsson and Jorge de la Vega at the Escuela de Música de la Facultad de Artes at the Universidad Nacional de Cuyo in Mendoza from 1975–80. He later studied composition privately with Carmelo Saitta in Buenos Aires from 1986–96 and attended composition seminars with Helmut W. Erdmann and Rainer Hecht at the Staatliche Hochschule für Musik und Theater in Hamburg from 1997–99.
Among his honors is the Premio Máscara from the Mendoza chapter of the Asociación Argentina de Actores (1994, for his work as a theatre musician). His music has been performed in Argentina, Chile, Cuba, France, Germany, Spain, the USA, and Uruguay.
He is also active in other positions. He worked as a composer, musical director and musician at the Joven Teatro Goethe of the Goethe-Institut in Mendoza from 1980–96, during which time he also organized numerous concerts, educational projects and multimedia events at a variety of private and public spaces in Mendoza. He later worked on arrangements of popular music and film scores for All Time Productions and NM Productions in Los Angeles in 1994.
He has lived in Spain since 1999.
CONTACT INFORMATION
E-mail address: gabocerini@yahoo.com
COMPLETE LIST OF WORKS
STAGE: Las Ciudades de Ravel (quasi-music theatre work for open spaces; musicians are arranged in three groups to the center, left and right of the audience), 5 violins, 2 violas, 5 celli, 2 double basses, stage design, 1988; Las Ciudades de Calvino (quasi-music theatre work), any number of strings, 1989; Tretos (theatre piece), 5 moving objects (3 players), ensemble (piccolo, flute, clarinet, French horn, 2 trombones) (with moving conductor ad libitum), 3 2-track tapes (2 operators), 1989; Vientos leves y variables (theatre piece; musicians are dressed to resemble a family portrait), 6 peves (invented instrument with polyethylene and polypropylene pipes), 2 clarinets, 3 trumpets, trombone, tuba, 3 violins, viola, 2 celli, double bass, 1989
ORCHESTRAL: Ceremonia sin máscara, large orchestra (11 winds, 10 brass, 3/4 percussion, 48 strings), 1991; El agua y el aire se chupan y desaparecen, small orchestra (14 players), 1993; Fractales, orchestra (8 winds, 10 brass, 5 percussion, strings), 1996 (also version as Phonosphera [Guía del escuchar microscópico], 2-track tape); Todos vivimos en el centro del mundo: En – Yo adivino el parpadeo, orchestra (8 winds, 10 brass, strings), 2000–01
CHAMBER MUSIC: Quinteto Elástico, 5 transverse flutes/any 5 equal instruments, 1983; Lógica del pez en agua fría, 3 ensembles (oboe, violin, viola; 2 transverse flutes, clarinet; flute, 2-track tape), 1985; Cuatronso o Cuatronso, oboe, bassoon, violin, white noise/out-of-range TV, 1987 (also version for 2-track tape, 1994); Cuatronso, hijo de Cuatronso, flute, tuba, cello, white noise/out-of-range TV, 1988; Músico de la torre del reloj, violin, 4-track tape, 1988; Pez pacito, che!!, trombone, 2-track tape, 1989; Los dados están cargados, cello, 1989; Curiosamente tango, bassoon, piano, 1991; Guones (estudio), 2 percussion ensembles/any 2 ensembles, 1991; Aire, 2 flutes, oboe, clarinet, bassoon, 1992 (section of Explotación casi rústica de elementos densos; may be performed separately); Berlin-Berlin, 2 flutes, oboe, clarinet, bassoon, 1996; Jocolí, bass flute (+ objects), 1996; El suelo sin fin, transverse flute (+ piccolo, bass flute), 4-track tape (with spatialization), live electronics, 1999
CHORAL: El Salto Mortal (vocalise), 5 mixed voices, 1988; El día se retira para tomar envión (vocalise), 4 mixed voices, 1995; La calle murmura (text by the composer), 4 mixed voices, 1996
PIANO: Música de Salón, piano, 2-track tape, 1989
ELECTROACOUSTIC: Música Pezpacial (pez del fondo) (montage), 2-track tape, 1989; Acá está la araña ermitaña (montage), 2-track tape, 1989; Cuando los árboles vienen cayendo (montage), 2-track tape, 1989; Radioteatro de la tarde (montage), 2-track tape, 1989; Paredes de agua y piano, 2-track tape, 1989; Un rey escucha (after Italo Calvino), 2-track tape, 1991; Colores (text by Héctor Lillo), 2-track tape, 1991; Piedra, 2-track tape, 1992 (section of Explotación casi rústica de elementos densos; may be performed separately); Esplín, 2-track tape, 1992 (section of Explotación casi rústica de elementos densos; may be performed separately); Tierra, 2-track tape, 1992 (section of Explotación casi rústica de elementos densos; may be performed separately); Raza, 2-track tape, 1992 (section of Explotación casi rústica de elementos densos; may be performed separately); Cemento, 2-track tape, 1992 (section of Explotación casi rústica de elementos densos; may be performed separately); Cuatronsa, por ella misma, 2-track tape, 1993; Caruso, rompiendo las arañas, 2-track tape, 1993; Cuatronso o Cuatronso, 2-track tape, 1994 (version of chamber work); El Cielo de la Mujer Mosca, 2-track tape, 1994; Phonographie 5, 'Música de The Door', 2-track tape, 1994, revised 1997–99; Parabur, 2-track tape, 1995; Tenía una voz excesivamente áspera, 2-track tape, 1996; Phonographie 3, '(Solo) Los pies en el agua / (Nur) Die Füsse im Wasser', 2-track tape, 1998; Phonographie, 2-track tape, 1997–99; Phonographie 2, '36 huellas', 2-track tape, 1997–99; Phonographie 4, 'Ciudad Imagen', 2-track tape, 1997–99; Phonosphera (Guía del escuchar microscópico), 2-track tape, 1997–99 (version of Fractales); Electroestampa (after Thomas Lemmler), 2-track tape, 1999; Amo a Débora, 2-track tape, 2002; Volonté / Martillo para romper el cristal en caso de emergencia, 2-track tape, 2003; Un Sonido Antiguo, 2-track tape, 2004; Electrocauce, 2-track tape, 2004; Pieza de salón, 2-track tape, 2005; Son Bieli Género, 2-track tape, 2005; Postales de la máquina del tiempo, 2-track tape, 2005–06; Le Robinet Goutte / El grifo gotea, 2-track tape, 2006; (Partir) de un tango, 2-track tape, 2007; Corta vacilación (text by Rubén Valle), 2-track tape, 2007; Algunas crónicas, 2-track tape, 2008; De no ser así, 2-track tape, 2008
MULTIMEDIA: Música de la Fiesta de la Vendimia (dance music, scenario by Vilma Vega, choreography by Vilma Rúpolo), 1991 (each of its five sections may be performed separately: Tormenta de Sal, 2-track tape; Danza del Agua, 2-track tape; Jingle de la industria, 2-track tape; Danza del Hombre Natural, 2 percussion; Nacimiento del volcán, 2-track tape); Santángelo no nació (7 themes for events by Marcelo Santángelo), 2-track tape, 1991; Explotación casi rústica de elementos densos, 1992 (each of its seven sections may be performed separately: Fuego [Ida y vuelta], 2-track tape, film [Imágenes de fuego by Mecha Anzorena, Germán González Mena, Martha Mom, Daniel Sifuente, Eduardo Videla]; Aire; Piedra; Esplín; Tierra; Raza; Cemento)
FILM SCORE (DIRECTOR): Roberto Rosas II, 1993 (Jorge Gómez)
DISCOGRAPHY
Caruso, rompiendo las arañas; Cuatronsa, por ella misma; El Cielo de la Mujer Mosca. (Zanessi: 8576, 1994) (cassette)
Phonographie; Phonographie 2, '36 huellas'; Phonographie 3, '(Solo) Los pies en el agua / (Nur) Die Füsse im Wasser'; Phonographie 4, 'Ciudad Imagen'; Phonographie 5, 'Música de The Door'; Phonosphera (Guía del escuchar microscópico); Postales de la máquina del tiempo (excerpt). (Unió Músics: PM 112-2008, 2008)
(Last updated on April 15, 2009)
