• 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
  • 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  http://www.francescoparadiso.com/waveform.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
  • 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
  • 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