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 along with Andrea Centazzo, Massimo Manzi, Pasquale Mirra among others, in festivals like Eddie Lang Jazz Festival, Across the University Festival at the University of Padova, and inside the Triennale di Milano exhibition “100 Domande sul Vivere Contemporaneo”.
He studies Musicology at the University of Pavia, graduating with a thesis on Fausto Romitelli compositional techniques.
As a composer, Luca studies with Riccardo Nova and electroacoustic composition at the Conservatorio “G. Nicolini” in Piacenza, with Roberto Doati and Riccardo Dapelo. He partecipates at masterclasses and lessons with Helmut Lachenmann, Clara Iannotta, Giovanni Verrando. He was selected for the first CIMM (Centro di Informatica Musicale Multimediale) masterclass in 2019 at the Biennale di Venezia, and for the second “New Music Week” in 2020 in Rome.
He is a member of the ensemble Collettivo_21 as a performer of the electronics, composer and artistic director of Incó_ntemporanea Festival.
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 research on Fausto Romitelli’s music was presented at GATM Music Theory conference in 2017, Timbre is a Many-Spledored Thing conference at McGill University in Montreal in 2018 and the Spectralism conference at IRCAM during the Manifeste Festival in 2019.
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.