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  • Toccata-fantasia
     
     Toccata-Fantasia super Salve Regina (1995), for Organ. The piece is a composition for an instrument with two keyboard and pedal, which may well be performed on a instrument with one keyboard of the italian tradition of nineteenth-century. For the first performance - XIV Organ Review on historical organs of the bergamasco area - the mechanical and phonic characteristics of the Serassi organ 1867 of the Church of Osio Sopra (BG) were found appropriate for an effective and easy performance. First performance Chiesa di Osio sopra (BG) - Serassi's organ 1867 29th April 1995 Francesco Catena, organ  http://www.francescoparadiso.com/toccata-fantasia-6.html?lang=en
  • Rosario Bellini, Tantum ergo a tre voci di Soprano con Organo
     
     Rosario Bellini, Tantum ergo a tre voci di Soprano con Organo, Edited by Francesco Maria Paradiso. Rosario Bellini (1775-1829) continues to be in the history as 'lucky father of a genius'. The genius was Vincenzo, the composer of Sonnambula, Norma and I Puritani. The Tantum ergo is evidence of Rosario Bellini as Maestro di Cappella, author of sacred music and member of a family of highly regarded musicians: the Bellini, a family of active composers in Catania for almost a century between the end of the eighteenth century and the nineteenth century. http://www.francescoparadiso.com/rosario-bellini-tantum-ergo-a-tre-voci-di-soprano-con-organo-2.html?lang=en
  • COMO CANCIÒN DE TIERRA Y MAR
     
     Como canciòn de tierra y mar’ (2008), for clarinet in sib/bass cl., Live electronics interaction, digital sound file and ambisonic surround system. The composition is inspired by the Ladàta: an original musical text that belongs to the repertoire of traditional songs for more voices of Sicily. The work was composed for the residence of composition at the Institute for Computer Music and Sound Technology (ICST) – Zürich (CH) First performance X. Weimarer Frühjahrstage für zeitgenössiche Musik
Weimar (D), 17th April 2009
 Lukas Vogelsang, clarinet http://www.francescoparadiso.com/%e2%80%98como-cancion-de-tierra-y-mar%e2%80%99-and-the-%e2%80%98ladata%e2%80%99-in-sicily.html?lang=en
  • Syrinx variations
     
     Syrinx variations (2002), for Flute solo. The 'a solo' on wich are constructed the variations for flute is a fragment into FROM THE BOOK OF NIGHT composition for symphony orchestra by Marek Stachowski. First performance Herrenhaus Edenkoben (D) 19th May 2002 Dagmar Becker, flute. http://www.francescoparadiso.com/syrinx-variations-2.html?lang=en
  • Forme d'intensità
     
     Forme d’intensità (2007), for fl., cl.sib/cl. basso, vib., gong, sixen e perc. di metallo, vn. The amplitude [or intensity] with time and frequency is one of the basic parameters through which is possible a complete description [though not the only 'method' conceivable] of the behavior of a sound. This is a convention. For example, while time influences the intensities, these one may also condition the perception of time and this is in a [logic] attempt to turn the intensities into forms. First performance Internationale Gesellschaft für Neue Musik (IGNM) - Basel (CH) Sala Gare du Nord Basel, 22th May 2007 Ensemble Laboratorium http://www.francescoparadiso.com/forme-dintensita.html?lang=en
  • Elettromorfosi
     
     ELETTROMORFOSI (2009-2010) sound samples of electric machines electronically processed ‘I take it that music is the art most fit to express the fine quality of machines. Machines are now a part of life, it is proper that men should feel something about them; there would be something weak about art if it couldn’t deal with this new content’. Ezra Pound, Antheil and the Treatise on Harmony, New York 1968. http://www.francescoparadiso.com/elettromorfosi-4.html?lang=en