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.


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


MATHIRIA (2006) for two Tam-tam, five soloists (fl., tb., pf., vn., cello), Symphony orchestra and Live electronics

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

Objets sonores

Objets sonores (Oggetti sonori) (2004), for amplified Octobass flute and twenty-three flutes.

First performance:
Salle Alfred Cortot, Paris, 2th December 2004
Pierre Yves Artaud, Octobass flute solo
Orchestre de Flûtes Français (OFF)
Pierre Alain Biget, conductor

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

Waveforms (Forme d’onda)

Waveforms (Forme d’onda) (2005-2006), for prepared vibraphone.

The main goals of the work were to create new sound-colours on Vibes, a synthesis of more complex timbres with the addition of definite and indefinite pitch instruments (in this case Crotales and Cowbells), new effects in connection with unusual or new techniques of performance, form and notation of the composition.[...]

First performance
Lucerne Festival 2006
Lucerne (CH), 20th September 2006
Domenico Carlo Melchiorre, vibraphone

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

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

A tre

A tre (2003-2004), for cl. in sib, accordeon, cello/cb. is divided into five parts.

The composition is divided into five parts. The thought, the structure, the technique of composition and the pervasive and controlled use of the aleatory of the texture, are [...]

First performance
Neue Musik, Theater am gleis,
Winterthur (CH) 4th April 2003
Trio Ruga: Mario Porreca, accordèon, Walter Ifrim, clarinet, Johannes Nied, contrabass

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


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

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.

Frammento ungherese

Frammento ungherese (2002), for piano.

‘[…] sarkaìg ès a Sziven’
(‘[…] poi avanti lungo il Cuore’)
Endre Kukorelly da JARAS (CAMMINATA), 1990

First performance
Herrenhaus Edenkoben (D), 19th May 2002
Fritz Schwingammer, piano

Monocromia 1

Monocromia 1 (2002), for Flute solo.

‘Da un punto di vista musicale l’azzurro assomiglia a un flauto, [...]‘
Wassily Kandinsky, ‘Lo spirituale nell’arte’,1912

First performance
Herrenhaus Edenkoben (D), 19th May 2002
Dagmar Becker, flute


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

Trois invocations sur le Salve Regina

Trois invocations sur le Salve Regina (1999), for Organ.

The piece is a composition for an organ with two keyboards and pedal, which may well be performed also on a instrument with one keyboard of the italian tradition of nineteenth-century. For example, an instrument of the Serassi family organ builders..

First performance
Chiesa S. Pietro Martire, Monza 29th March 1999
Francesco Maria Paradiso, organ

ICONI (Pathetische suite)

ICONI (Pathetische suite (1999), for Organ.

Three organ pieces freely inspired at the images of the crucifixes by William Congdon, painter which took part at experiences of the Action painting. Prologo drammatico, Recitativo e canone sopra ‘O crux, ave, spes unica’, Finale lirico are icons painted with sounds.

First performance
Chiesa S. Pietro Martire, Monza 29th March 1999
Francesco Maria Paradiso, organ


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


Paolo Altieri – Organo in Sicilia Noto nel settecento, for Organo.

The work of musicological research, is a large collection of unpublished compositions by Paolo Altieri, which was ‘Maestro di Cappella of all churches of Noto’ in Sicily. Paolo Altieri (1745-1820) was author of instrumental and sacred music, composer of the musical tradition of the Neapolitan school.

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.


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.


Pietro Branchina, Capriccio per organo ad uno o due maniali op. 168.
Edited by Francesco Maria Paradiso

Dom Pietro Branchina (1876-1953) was composer of sacred and liturgical music during the first part of twentieth century. Capriccio per organ for one or two keyboards op. 168 and dedicated to Alessandro Gasperini organist of the monumental organ Tamburini into the Duomo of Messina, is real an original instrumental piece into the production of Pietro Branchina. [...]

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