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  • PIETRO BRANCHINA, CAPRICCIO PER ORGANO A UNO O A DUE MANUALI OP.168
     
     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. [...] http://www.francescoparadiso.com/pietro-branchina-capriccio-per-organo-a-uno-o-a-due-manuali-op-168.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
  • 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-2.html?lang=en
  • Cicli: creatività condivisa in rete
     
     Free Organ compositions downloads http://www.francescoparadiso.com/cicli-creativita-condivisa-in-rete-4.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