Luca Guidarini – Live Electronics and Artistic Director of Incó_ntemporanea Festival

Born in Rovigo in 1995, Luca Guidarini started to play classical guitar at the age of 7. He continues his studies in classical and jazz guitar at the Conservatorio “A. Buzzolla” in Adria, then contemporary electric guitar at the Civica Scuola di Musica “C. Abbado” in Milan. As a guitar player, he performed in the improvised music field, playing in various festivals along with Andrea Centazzo, Massimo Manzi, Pasquale Mirra, among others. As a musicologist, he is graduated from the Università di Pavia, with a thesis on Fausto Romitelli’s compositional techniques. Luca Guidarini’s musicological research focuses on music theory, compositional and improvisational techniques of composers and performers of the late XXth and XIXst Century. His researches were presented at many institutions and conservatories, as McGill University (Montreal), and IRCAM (Paris).
As a composer, Luca studies with Giovanni Verrando and electroacoustic composition at the Conservatorio “G. Nicolini” in Piacenza, with Daniele Ghisi. He is a member of the ensemble Collettivo_21 as a performer of the electronics, composer, and artistic director of Incó_ntemporanea Festival. Luca’s music deals with the relationships between the technological means, the musicians, and the performance itself, and it has been performed in festivals such as Biennale Musica di Venezia, Cerimoniali Ritmici (Rome), Crossroads Festival (Salzburg), and Incó_ntemporanea Festival (Piacenza), collaborating with renowned soloists as Ljuba Bergamelli, Carlo Siega, Antonio Magnatta, and ensembles such as Collettivo_21, Blow-up Percussions, Duo Dubuois.


Musical Works

Sonically inspired equally by the Italian post-spectral school, the french saturationist thought and the contemporary experimental popular music, Luca’s music focuses of the materic realization of an aesthetic concept, that should be musical or purely artistic 

The series Negativo – a series of concert studies – is based on the realization of concepts derived from the history musical theory. Negativo 1.2 for cello and electronics is a study on a historical affirmed synthesis technique like the Ring Modulator and its articulation with the acoustic sound; Negativo 2.1 for small ensemble and electronics focuses on the Grisey’s concept of “Shadow Sound”, and on the psychoacoustic creation of combinatory sounds; Negativo 3.1 for electric guitar and electronics, dedicated to Carlo Siega, is a study on the idiomatic possibilities that Carlo’s Guitar can produce, in relation with a live-automated modulated sound textures; Negativo 4.2 is a work in progress and it is an application of the post- serial structures used in composers like Giacomo Manzoni and Franco Donatoni in a timbral transformation-driven process. Pieces like Riflessi. Pistoletto, for percussion, live electronics and feedback system, and the work in progress Morphology of a Digital Mouth, for Soprano, live electronics, live video, and feedback system, deals with an aesthetic reflection on the relation between the parameters of the mise en scene of the musical performance, maintaining a strict focus on the production of the sound.