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
  • 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
     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
  • A sette con cadenza di vibrafono
     A sette con cadenza di vibrafono (2001), per fl., cl., vib., piano, vl., vn., cello. The composition is a small and chaotic microcosmos of sounds imagined at the moment of its formation and its final collapse. First performance Herrenhaus Edenkoben (D) 16th September 2001 Ensemble Aventure (Freiburg) Pedro Amaral, conductor http://www.francescoparadiso.com/a-sette-con-cadenza-di-vibrafono-2.html?lang=en
  • Profili d'onda
     Profili d’onda (2007), for prepared vibraphone and electronics (digital sound file). The title of the composition refers to the relation constructed in the work with the definite and symmetric motion of the most common forms of sound wave: the Sine wave, Square, Triangle, Saw-tooth wave. The graphic representation of four waveforms is used to build the profile of dynamics into three main parts, the graphic panels of the composition. [...] First performance Internationale Gesellschaft Für Neue Musik-Basel (IGNM) ‘Dialogpartner Xenakis’, Basel (CH), 22th May 2007 Domenico Carlo Melchiorre, vibraphone http://www.francescoparadiso.com/profili-donda-2.html?lang=en
  • Variazioni sulla Sequenza IV di LUCIANO BERIO
     Variazioni sulla Sequenza IV di Luciano Berio (2007) for fl., cl. in sib., vib., piano, vn., cello. The first forty-five seconds of the 'Sequenza IV’ for piano composed by Berio in 1965-1966, are the “Theme” on which the five variations for ensemble are constructed. In synthesis, the composition is a work (a “work in progress”) to meet the world of the solo sequences of Luciano Berio and my personal homage to his strong and original voice. First performance Philarmonie Luxembourg, Salle de musique de chambre, Lussemburgo, 20th July 2007 Ensemble Instrumental de l'Orchestre Philarmonique du Luxembourg Zsolt Nagy, direttore http://www.francescoparadiso.com/variazioni-luciano-berio-5.html?lang=en