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  • 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 http://www.francescoparadiso.com/iconi-2.html?lang=en
  • SPAZIO VENEZIANO AND SOUNDING TREE
     
     Spazio veneziano (work in progress), for Sounding tree, voice, Live electronics, digital sound file on an unspublished text by Luigi Nono Plunged into ‘sounding stations’ without perceiving them, Nono’s thought provokes the intent of listening. It indicates the intelligence which is intrinsically in the sound. The expanse of sounding bodies makes up a living frame, which is realized, perceived and held only by the will of listening. http://www.francescoparadiso.com/spazio-veneziano.html?lang=en
  • 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. http://www.francescoparadiso.com/rosario-bellini-tantum-ergo-a-tre-voci-di-soprano-con-organo-2.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
  • 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
  • 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