Music is a labyrinth with no beginning and no end,
full of new paths to discover,
where the mystery remains eternal.
— P. Boulez
I am a cellist, improviser, composer, researcher and sound artist.
In 2013, I earned my Cello Conservatory Diploma (Master’s Degree in Music) at ISSM “F. Vittadini” (Pavia, IT), and I have been performing, over the years, in more than 100 concerts with several orchestral and chamber ensembles, collaborating with internationally known conductors and specializing on the classical repertoire.
After moving to France, further to very diverse musical experiences, between classical and contemporary style, I started focusing on the practice of free improvisation and experimental music.
My personal research on the contemporary instrumental technique culminated in the realization of several improvised performances for cello solo or cello and electro-acoustic devices.
As an interpreter and performer, I maturated experiences in international contexts: Festival Météo (Mulhouse, FR), Festival »zoom-in« (Bern, CH), Festival Tempo Reale (Florence, IT).
The interaction between sonic material, instrumental gesture and acousmatic space is at the core of my expressive research.
Since 2015, I have been involved into the research and improvisation workshops Coup de dés at Le 102, in Grenoble (FR), assuming a coordination role in 2017.
Within the practice of ensemble free improvisation, I have developed and conveyed a vocabulary of few hundreds of statements (actions, gestures, relationships,…) providing patterns for aleatoric open composition and frameworks for instantaneous writing.
I took part into several improvisation and performance workshops (including experiences in Soundpainting and Conduction), under the guidance of – among the others – Walter Thompson, Anthea Caddy, Judith Hamann, Jon Rose, Benoît Cancoin, Okkyung Lee, Hélène Breschand.
Since 2016, I actively collaborate with several collectives (Lucioles et autres lueurs, Archipel Urbain), organizing more than 60 concerts, workshops and happenings on experimental and electro-acoustic music, including two acousmatic Nuits Blanches (december 2016, february 2019).
My strong interdisciplinary vocation brought me soon to explore the link between movement and sound, often acting at the intersection of music improvisation and contemporary dance: in collaboration with Équinoxe collective and John Kino (member of UNESCO’s International Dance Council), I have developed innovative approaches such as in situ creations, site-specific urban performances, and multisensory explorations.
As a composer of electroacoustic music, I attended classes at École Nationale de Musique (ENM) in Villeurbanne (FR). For my pieces, I was nominated for the Prix “Pierre Schaeffer” at the International Phonurgia Nova Awards 2018 (L’Homme du Livre) and appeared in selections such as the CREAMUS/GRM selection (2019) and the Sound & Music Computing Conference – SMC music programme (2020).
I work mainly on spatialized and multiphonic immersive environments,
halfway between site-specific performance and installation.
From my scientific education and my PhD in nano-electronics at Grenoble University, I feed on the encounter between music and new technologies, broadening my skills in sound techniques, computer music and virtual instrument-making.
I am Digital Signal Processing researcher & developer and I currently create audio software for Arturia.
My works have been diffused at Musée de Grenoble, Bibliothèque Nationale de France (Paris), Maison des Sciences de l’Homme Paris Sud (Saint-Denis), Planétarium de Vaulx-en-Velin, Villa Gillet/GMVL (Lyon), Théâtre de Création (Grenoble), Musée Réattu (Arles), Villa Strozzi/TempoReale (Florence).
In late 2019, I co-founded APNÉES (Association pour la PerformaNce, l’Électroacoustique et les Expérimentations Sonores), through which I have so far realized acousmatic concerts, free improvisation workshops and immersive performances.
“[…] acousmatician and cellist, Alessandro De Cecco uses his residency for exploring various techniques of immersive installation and performance, leading the listener and spectator at the heart of devices of transformed sounds, of twisted gestures, in which technology and “real” world blend together in a continuous sensation of discovery.”
— Plege Association