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Luigi Ceccarelli


Aleph con Zero [1993]

for two pianists, two percussionists

prepared piano, two marimbas
sampled sounds

published by Edipan
duration: 14′
commission: Nuova Musica Italiana Festival – Rome

performers  Ars Ludi Ensemble
Oscar Pizzo and Sujun Kim – piano
Antonio Caggiano and Gianluca Ruggeri – marimbas and samples

“Aleph con Zero” includes sounds of two marimbas and a prepared piano. As the piece unfolds, the amplified sounds become increasingly alien to the nature of live instruments, expanding towards a more percussive character.
Aleph con Zero, is formed by the superimposition of simple rhythmic, visual and sound patterns, which create a single complex texture.

The diversity between the rhythms gives rise to a very dense sound result, at times apparently inextricable.
“Aleph con Zero” is a part of “Macchine Virtuose” realized by Luigi Ceccarelli with the scenography of Gianfranco Lucchino and the ensemble “Ars Ludi”


Dec 10, 93  – Roma, Sala Casella, Festival Nuova Musica Italiana
Mar 08, 94 –  Backnell (USA), The Gallery Series
Mar 10, 94 –  New York, Interpretations, Merkin Concert Hall
Aug 29, 96 –  Riccò del Golfo (La Spezia), Culture dei Mari

as part of “Macchine Virtuose”

Oct 27, 94 – Roma, Acquario Romano, “Progetto Musica ’94”
Sep 21, 96 – Ferrara, Aterforum Festival, Teatro Comunale

Macchine Virtuose
contains “Aleph con Zero”
CD: Edipan CCD 3062
total duration: 55′ – 1996


No hesitation in saying that Aleph with Zero by Luigi Ceccarelli, in an ideal 1993 world ranking, would occupy the very first positions. At the beginning you hear rhythmic modules whose origin, without any mention, could be advanced jazz or post-Bartokian and post-Stravinsky percussionism (including keyboards). An electrifying start, with all the possible emotions of urban culture and all the possible creativity of the digital mode of production inside.
Then melodic branches of the attack modules appear, blended and chopped on the marimbas. Then there is the game of crescendos and abrupt interpolations of isolated notes (which always have a rhythmic value), followed by a “discreet” orgy of sounds that seem to drip from the piano strings. Sounds sampled and re-proposed to instrumentalists, who – says Ceccarelli – “are crucial to give vitality to a score written on the computer”. And in fact the Ars Ludi interpreters made this tremendously complex piece irresistible on a technical level.

Mario Gamba – il Manifesto 12/14/93

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