• 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 http://www.francescoparadiso.com/monocromie.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
  • 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 http://www.francescoparadiso.com/trois-invocations-sur-le-salve-regina-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-4.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
  • Cicli: creatività condivisa in rete
     Free Organ compositions downloads http://www.francescoparadiso.com/cicli-creativita-condivisa-in-rete-4.html?lang=en