(b. 1954, Mendoza).
Argentinean composer, now resident in Spain, of mostly 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 Facultad de Artes y Diseño of 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 seminars in composition with Helmut W. Erdmann and Rainer Hecht at the Hochschule für Musik und Theater Hamburg from 1997–99.
Among his honours is the Premio Máscara from the chapter in Mendoza 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, music director and musician at the Joven Teatro Goethe of the Goethe-Institut in Mendoza from 1980–96, during which time he also organised 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.
COMPLETE LIST OF WORKS
STAGE:
Las Ciudades de Ravel (quasi-music-theatre work for open spaces; musicians are arranged in a group each to the centre, left and right of the audience), 5 violins, 2 violas, 5 cellos, 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), fixed media (2 tracks) (2 operators), 1989
Vientos leves y variables (theatre piece; musicians are dressed to resemble a family portrait), 6 peves (invented instrument with pipes of polyethylene and polypropylene), 2 clarinets, 3 trumpets, trombone, tuba, 3 violins, viola, 2 cellos, 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/large orchestra (8 winds, 10 brass, 5 percussion, strings), 1996 (also version as Phonosphera [Guía del escuchar microscópico], fixed media [2 tracks])
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, fixed media [2 tracks]), 1985
Cuatronso o Cuatronso, oboe, bassoon, violin, white noise/out-of-range TV, 1987 (also version for fixed media [2 tracks])
Cuatronso, hijo de Cuatronso, flute, tuba, cello, white noise/out-of-range TV, 1988
Músico de la torre del reloj, violin, fixed media (4 tracks), 1988
Pez pacito, che!!, trombone, fixed media (2 tracks), 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), fixed media (4 tracks), 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, fixed media (2 tracks), 1989
ELECTROACOUSTIC:
Música Pezpacial (pez del fondo) (montage), fixed media (2 tracks), 1989
Acá está la araña ermitaña (montage), fixed media (2 tracks), 1989
Cuando los árboles vienen cayendo (montage), fixed media (2 tracks), 1989
Radioteatro de la tarde (montage), fixed media (2 tracks), 1989
Paredes de agua y piano, fixed media (2 tracks), 1989
Un Rey escucha (after Italo Calvino), fixed media (2 tracks), 1991
Colores (text by Héctor Lillo), fixed media (2 tracks), 1991
Piedra, fixed media (2 tracks), 1992 (section of Explotación casi rústica de elementos densos; may be performed separately)
Esplín, fixed media (2 tracks), 1992 (section of Explotación casi rústica de elementos densos; may be performed separately)
Tierra, fixed media (2 tracks), 1992 (section of Explotación casi rústica de elementos densos; may be performed separately)
Raza, fixed media (2 tracks), 1992 (section of Explotación casi rústica de elementos densos; may be performed separately)
Cemento, fixed media (2 tracks), 1992 (section of Explotación casi rústica de elementos densos; may be performed separately)
Cuatronsa, por ella misma, fixed media (2 tracks), 1993
Caruso, rompiendo las arañas, fixed media (2 tracks), 1993
Cuatronso o Cuatronso, fixed media (2 tracks), 1994 (version of chamber work)
El Cielo de la Mujer Mosca, fixed media (2 tracks), 1994
Phonographie 5, 'Música de The Door', fixed media (2 tracks), 1994, revised 1997–99
Parabur, fixed media (2 tracks), 1995
Tenía una voz excesivamente áspera, fixed media (2 tracks), 1996
Phonographie 3, '(Solo) Los Pies en el agua / (Nur) Die Füße im Wasser', fixed media (2 tracks), 1998
Phonographie 1, fixed media (2 tracks), 1997–99
Phonographie 2, '36 Huellas', fixed media (2 tracks), 1997–99
Phonographie 4, 'Ciudad Imagen', fixed media (2 tracks), 1997–99
Phonosphera (Guía del escuchar microscópico), fixed media (2 tracks), 1997–99 (version of Fractales)
Electroestampa (after Thomas Lemmler), fixed media (2 tracks), 1999
Amo a Débora, fixed media (2 tracks), 2002
Volonté / Martillo para romper el cristal en caso de emergencia, fixed media (2 tracks), 2003
Un Sonido Antiguo, fixed media (2 tracks), 2004
Electrocauce, fixed media (2 tracks), 2004
Pieza de salón, fixed media (2 tracks), 2005
Son Bieli Género, fixed media (2 tracks), 2005
Postales de la máquina del tiempo, fixed media (2 tracks), 2005–06
Le Robinet Goutte / El Grifo gotea, fixed media (2 tracks), 2006
(Partir) de un tango, fixed media (2 tracks), 2007
Corta vacilación (text by Rubén Valle), fixed media (2 tracks), 2007
Algunas crónicas, fixed media (2 tracks), 2008
De no ser así, fixed media (2 tracks), 2008
MULTIMEDIA/PERFORMANCE:
Música de la Fiesta de la Vendimia (dance music, scenario by Vilma Vega, choreography by Vilma Rúpolo), 1991 (its five sections may be performed separately: Tormenta de Sal, fixed media [2 tracks]; Danza del Agua, fixed media [2 tracks]; Jingle de la industria, fixed media [2 tracks]; Danza del Hombre Natural, 2 percussion; Nacimiento del volcán, fixed media [2 tracks])
Santángelo no nació (7 themes for events by Marcelo Santángelo), fixed media (2 tracks), 1991
Explotación casi rústica de elementos densos, 1992 (its seven sections may be performed separately: Fuego [Ida y vuelta], fixed media [2 tracks], 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 1; 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)