• 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
     Giusppe Geremia, Suonata di cembalo. Edited by Francesco Maria Paradiso. Giuseppe Geremia (1732-1814) was the first musician into the musical history of Catania (Sicily). The piece is a composition that is possible to perform also at organ. Suonata di cembalo is evidence of Giuseppe Geremia as composer possessing of a real talent. http://www.francescoparadiso.com/giuseppe-geremia-suonata-di-cembalo-2.html?lang=en
  • Monologhi
     Monologhi (2001), for fl./bass fl. and piano. Streams of sound events, created in a indipendent way, are performed by two different instruments. The two parts change with the time, like two characters or two molologs - 'Sul blu', 'Sul giallo' infact it is clear the synthetic interest -. The theme of the composition is the passage from the sonorous conctat to the being, the creation of a unique entity of sound during the listening time. The third part - 'Sul rosso'- come back to the music, to the meter, to the coordination, to an emotion expressed by math. First performance Herrenhaus Edenkoben (D) 19th May 2002 Dagmar Becker, flauto, Fritz Schwingammer, piano http://www.francescoparadiso.com/monologhi-2.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-2.html?lang=en
     HYMNE (Epifanie della forma interiore) (2005), for Organ. The strenght of the poetic "images" into Le Chemin de la Croix by Paul Claudel had always made a deep impression on my creative imagination. When the Cappella Musicale di Milano asked me to compose a piece for the international organ review Vespri d'organo in S. Maria della Passione during Lent, I could only choose the irresistible symbolism and the powerful dramatic tension of the "scene" and of the particular "form" of the cross. I could only choose the line of ancient Vexilla Regis pròdeunt. First performance Vespri d'organo in S. Maria della Passione, Milano 13th March 2005 Franz Comploi, organ http://www.francescoparadiso.com/hymne-2.html?lang=en
  • Mediterraneo 36.2
     Mediterraneo 36.2 (2004), for clarinet in sib and Live electronics. The title of composition is referred to the average density of water of the Mediterranean Sea. The composition is characterized by a considerable numbers of figures, articulations, timbres and at the same time by different techniques and ways of production and processing of sound in real time. First performance ‘Concerti nel Chiostro 2004’, Conservatorio ‘Giuseppe Verdi’, Milano Milan, 8th July 2004 Paolo Casiraghi, clarinet http://www.francescoparadiso.com/848.html?lang=en