Luigi Ceccarelli

ceccarelliLC_Vimeo_logo LC_Youtube_logoLC_Soundcloud_logo LC_Flickr_logoLC_Facebook_logoHe is a co-founding member of the “Edison Studio” and  since the 1970s he has worked as a composer of music with live electronics. He is interested in all forms of sound, irrespective of genre, and in the relationships between music and the performing arts.

 His work as a composer has brought him international recognition (Bourges Festival Prizes, UBU Prize – given by Italian theatre critics, Ars Electronica – Linz, MESS Festival Prize in Sarajevo, Special Prize at the BITEF Festival in Belgrade, “Hear” Prize by Hungarian Television, Opus Prize” from the “Conseil de la Musique du Quebec”). His works have been chosen many times for performance at the International Computer Music Conference and

 he has written various works for radio produced by the Italian broadcaster RAI and he composed work for theatre with “Teatro delle Albe”, “Fanny & Alexander”, and work for dance with “Wee Dance Company” and Robyn Orlin.
 Luigi Ceccarelli has held the post of Professor of Electronic Music Conservatory of Music of Latina.


Reviews of Open Border

Open Border LP Reviews

How to open the curtain on a sidereal abyss: Open Border, an open border, worlds that we don’t know yet and are familiar and that we return to visit with great joy in listening …

This stellar quartet, assembled by Ariele Monti (deus ex machina of the Forlì club [Seismic Area]), closed the edition two years ago with a thrilling live which now (edited) becomes a 12 “vinyl (and download) for Ken Vandermark’s Audiographic Records, which produces the work together with Ariele Monti and Area Seismica. What we listened live and we hear now on lp was the tasty and forbidden fruit of the first ever encounter between these heavyweights: Ken Vandermark on saxophones and Hamid Drake on drums to guard the avant-jazz side of the territory, Gianni Trovalusci on flutes and sound pipes (at dinner then on the evening of the concert he would have told me that they were the pipes of a tent … when the genius is said) to probe the land of the contemporary and Luigi Ceccarelli, who turns out to be the real sorcerer, to process the sound of the other three live, adding scientific delirium to delirium, bright confusion to confusion. Pagan music and cultured arm in arm in Hyperuranium, dense and tense silences, stalking, escapes, ambushes, clearings, archaic and forbidden fantasies, lux aeterna, drums.

Thanks to Ceccarelli’s abstract and punctual electronics, the sound is refracted in bottomless wells; the acoustic rain of tenor, flute and percussion becomes hyperreal, a filigree dream. The climate sometimes resembles a more shaggy Threadgill, then there are explosions like in Coltrane’s Interstellar Regions, with live electronics adding quarters of strangeness and impregnability, but every reference is in vain because the music we listen to is truly new and unheard of, creepy. Trovalusci at the sound pipes is a shaman in the academy, the tenor sax turns into a cello, it is the sound of a perennial metamorphosis, a free chrysalis that take off as a contemporary butterfly. The clear feeling is that this is an important musical encounter, the seed of a forbidden and tasty fruit, which no God will be able to prevent us from tasting. A sincere praise therefore to those who thought of bringing these musicians together in space, allowing us to sail with them. At times the ears imagine the music of the pygmies played by Stockhausen, the heart listens to ancient and brand new speeches, elusive secrets, the eyes are dazzled by so much monolithic, kaleidoscopic clarity.

This music creates (and needs) space: a long theory of vanishing points, a cold that tastes of galaxy, cosmic wind, black holes, delicate and powerful epiphanies, sounds in constant movement, pregnant with questions, vague and storytellers yet steadfast in their drift, philosophical and orgiastic, unstoppable, fluid, natural as a breath. Music that seems the transcription in score of a Nietzsche book, ruthless and bloody human. Thirty-five minutes simply amazing.
Nazim Comunale – The New Noise 11/04/2020


Time to live in the desire for research
“Open Border”, the album that reproduces the concert of the ensemble of the same name at the Forlì Open Music festival in 2018

Occasionally radical free improvisation and contemporary music of radical “learned” origin intersect and become the same thing. Contemporary music understood as the time of living with the desire for research, pleasure, the composition of open relationships. An event like this took place in October 2018 at the Forlì Open Music festival. The ensemble gathered for the occasion was called Open Border (precisely …). And this name is also the title of the album that reproduces that concert.
LUIGI CECCARELLI, a well-known composer in the “contemporary” anti-dogmatic, makes the director (re-inventor, inventor) of the completely improvised session somewhat to electronics. Hamid Drake, a beloved jazz percussionist, a great virtuoso, a practical seducer of avant-garde and Africanism, pantry touches that would make Stockhausen’s envy. Gianni Trovalusci, flutist who willingly switches from free music to neue musik (he is Roscoe Mitchell’s favorite partner), blows long and pointed sounds that travel in galaxies into tubes of various sizes. Ken Vandermark, saxophonist and clarinetist, shows off his best skills as an ultra-free jazzman, forgets Rollins and draws on Ligeti. Yummy cocktail.

(Mario Gamba- Il Manifesto (


Music and More
General thoughts of fun stuff, like music, books and the like. Thanks for reading.SATURDAY, APRIL 04, 2020
Vandermark / Drake / Trovalusci / Ceccarelli – Open Border (Audiographic, 2020)
Open Border is a beautiful, truly collaborative project between Ken Vandermark on reed instruments, Luigi Ceccarelli on electronics, Hamid Drake on drums and Gianni Trovalusci on flutes. The music was recorded by Ceccarelli live at the Forlí Open Music Festival in October of
2018, and captures a gracefully flowing and exploratory performance. Musicians weave in and out of the sound tapestry, shifting from solo to full quartet sections, as the improvisations evolve from melodic to abstract freedom. There is only freely improvised track, “Open Border” which emerges slowly as the music has pops and clicks like a transmission from a far off world, Vandermark’s clarinet meeting electronics and fluttering in open space, gradually gathering intensity with percussion and piercing flute entering the frame. Drake’s masterful fractured free drumming and Vandermark’s caustic clarinet further slip the boundaries, with sparse electronics adding to the action. Drake’s solo drumming reverberates through the theater, as Trovalusci joins him on flute providing an ethereal sound amid swirls of electronic noise building an alien soundscape. The instruments can create a alarming buzzing motif, then change just as rapidly into with popping and chattering reeds in a nervous, yet fascinating section. Vandermark moves to tenor saxophone for powerful bursts of loud and stark playing, backed by Drake’s excellent drumming, and swirls of electronic sound, creating a raw and vibrant section of the overall performance, and diving into an excellent collective improvisation with flute soaring and flowing amid the other instruments. Interplay between Drake and Vandermark stellar as always, as is the light and fluid section for flute and electronic sound, and graceful spoken vocalization leading everyone to come together for a elegant and memorable conclusion. This was a unique and very enjoyable album, taking three stellar instrumentalists and adding Ceccarelli to create electronic sound and process the other band members playing in real time creates a vibrant and rich performance that continuously moves in dynamic and spontaneous ways. by Tim Niland