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PORTFOLIO

Music written by me, as author and arranger in different classical subgenres

Examples of compositions tailored on video advertisements, TV series, media in general

Orchestra

CLASSICAL MUSIC

Music written by me, original and arrangements in different classical sub-genres

AFTER

2022

for string quartet

12' ca.

MALA TEMPORA CURRUNT

2021

for flute, bass clarinet, violin, viola, cello and piano

8' ca.

“Mala Tempora Currunt”, “Bad Times are upon us”, a title with describes perfectly the current worldwide situation: striking chords, with sections that are referencing to Stravinsky's Rite of Springs are the main features of the piece.

Extremely high pitched fute in fortissimo is rendering the music disturbing and almost painful to the ears. A two-note note fguration is varied consistently throughout the entire piece, almost like a continuous variation. In this work I tried to experiment with diferent approaches in this pieces I extended my compositional technique by using more undefned pitched sections, more extended techniques and microtonal passages.

The structure is made by four parts treated diferently dynamic-wise as well as timbre and colour.
At the end I tried to “reverse” the sound characterizing the beginning by using the resonance from the piano.

A BLIZZARD

2021

for orchestra

1pic,2fl,2ob,1eh,2cl,BCl,2Bsn,CBsn - 4hrn,3tpt,2tbn,Tuba - 3per(Timp, Bd,Cr,T.t,Triangle,Guiro) - str. 

5' ca.

Orchestral arrangement of the piano piece "A Blizzard"

SWARMS

2020-2021

to Biagio Micciulla

 

for full symphony orchestra

(3fl double pic,2ob,Eh,2Cl double EbCl,Bcl,Ssax,Asax,Tsax,Bsax,2Bsn,Cbsn - 8Hrn,3Tpt,2Tbn,Btbn,Tuba - Cel - Hrp - 5perc(Timp,2tri,2Cym, Bd,2Tt,TubB,Glock,Vib) - Str (16,14,12,10,8 min)

 

20' ca.

In this piece I tried to represent swarms through diferent points of view.
The swarm phenomena has an unique indentity, one entire object generated by a large amount of small entities, each one contributing to creating the “bigger picture”.
It can be analyzed mainly under two aspects: from the outside (overview) as well as immersed in it, where each small cell (motive and line) makes the diference.
Therefore, few melody lines, mainly semintonal are treated contrastingly at the same time and in diferent sections throughout several fgurations.
A general heavy orchestration is the main feature of the piece, contrasted with more subtle and light sections, as if a deep zoom into swarm's specifc areas were taken.

A BLIZZARD

2020

Commissioned by Royal College of Music under the "Tchaikovsky Project", a concert at the Russian Embassy in London

for piano

5' ca.

A Blizzard is a piano piece, a representation of the most cruel and tough climate in the Tropic of Cancer, especially in the Russian region; I wanted to translate in music the main features of the Siberian winter: like in a toccata, fast notes running throughout the piano register are resembling strong winds together with sudden theme fragments coming out from the blizzard. Structurally speaking, the piece resembled a song form with an introduction, inserted as the “calm before the storm” even though the harmonic structure (based on permutations of an harmony feld) as well as the dynamic development are suggesting the inevitable: towards the end the hail throws its weight around strong and sudden chords juxtaposted against moments of uncertainty.

A series of unaccompained triplet runs decrees the end of the piece as a blizzard would vanish leaving nothing behind.

GASP!
for the Hermes Experiment

2020

trio for clarinet, double bass and harp

5' ca.

SCREECHING SHIMMERS

2020

for flute, bass clarinet, tenor saxophone, violin, viola and cello

8' ca.

FOUR ELEMENTS

2020

Commissioned by Enzo Giuffrida

set of 4 duets for saxophone and clarinet

 (BCL - Bsax), (BCl - Bsax), (BbCl - Ssax), (BbCl - Ssax)

9' ca.

RAPSODIA FANTASTICA

2019

Commissioned by "Ensemble Nuove Musiche" for the VII edition of "Festival Internazionale di Musica di Savona"

for piano

4' ca.

ENTROPY

2019

Commissioned by "Orquesta De Cámara de Valdivia"

for chamber orchestra (Fl,Ob,Cl,Hrn,Bsn - str (4,4,3,2,1)

11' ca.

VERDI SUITE - IV FINALE

2019

Commissioned by "Orquesta De Cámara de Valdivia"

for chamber orchestra (Fl,Ob,Cl,Hrn,Bsn - str (4,4,3,2,1)

8' ca.

An arrangement/mash-up of different themes from Verdi's arias and music.

MAL DI TERRA

2019

chamber opera for ensemble and Live Electronics

Fl,Friscaletto in C doub. (BCl,Frisc in G, Frisc in Bb), Bsn doub. (bifera in G), Tbn, Perc (Jew's Hrp, Putipù, Tamorra Muta,Tamb,chim, cym, shk, rattles, oceanDrum, Flex) - choir (3Male, 3 Female) - 2 Keyb(1 also OceanD and Tamb, 2 also Tamb) - Vln, Cello - Live Electronics (Sound Design)

90' ca.
 

libretto - Matilde Cragnolini

Mal di Terra, a journey represented in a 4-part opera, a trip focused on the wide and complex world of sicilian culture, complexity which ends up substantially on its folk music. This culture is impregnated with greek and arabic influences: the presence of "friscaletto" or the Jewish harp (known as marranzano in Sicily), handmade instruments distinguished by an uncertain intonation, the use of melisma and ornamentations in arabic music and the realization of folk song based on greek modes create an enriched pot-pourri, full of facets. I tried to combine past and present, mixing folk tradition with contemporary classical music. Passion, violence, love, desire, nuances of human behavior are represented through modes which remembrance the limited transposition ones by Messiaen, in addition to electronic music interventions.

FUGA IN DO MAGGIORE

2018

for organ

3' ca.

FUGA IN RE MINORE

2019

on J.S. Bach's "The Art of Fugue" theme - for organ

3' ca.

FUGA IN MI MINORE

2019

On a theme by Gedalge - for keyboard

2' ca.

CONDENSED

2018

For two clarinets, harp, viola and cello

3' ca.

SALUTATIO ANGELICA

2018

for SMsATB and baritone solo

6' ca.

COCITO
commissioned by "Trieste Flute Ensemble"

2018

for flute ensemble (1Fl/Pic, 4Fl, 2AlFl, 2BFl, 1CbFl)

7' ca.

GLITCHES (IN MEMORIAM GIOACCHINO ROSSINI)

2018

Winner of "Premio Nazionale delle Arti"

for orchestra, 2 orchestrations

2fl,2ob,2Cl,2bsn - 4hrn,2tpt(harm mute,bucket mute), 2Tbn(bucket,2plung,1solotone), BTbn(plung), Tuba - 3Perc(Timp,3tr,2Cym,Tt,xyl,2tubB,2Bd, Vib, Mar) - Str (8-6-4-4-2 min)

1Pi,2fl,2ob, Eh,2Cl,2bsn, Cbsn - 4hrn,4tpt(harm mute,bucket mute), 3Tbn(bucket,2plung,1solotone), BTbn(plung), Tuba - Perc(Timp,3tr,2Cym,Tt,xyl,2tubB,2Bd, Vib, Mar) - Str (16-14-12-10-8 min)

7' ca.

Glitches is an orchestra piece written in memoriam of Claude Debussy and Gioacchino Rossini in 2018, year of the 100th and the 150th death anniversaries.

It is a dismembrement of several iconic pieces from the two composers, like some piano preludes by the french composer and quotes from the “Petite Messe Solenelle” by Rossini, spreaded unevenly into all the orchestra.

The term “Glitches” refers to sudden entrances of the different quotes constrasting at the same time with a set harmony field based on 5 notes (B, D, Eb, F, Gb) and their many interval transpositions. The concept of glitch is also analyzed under other point of view; in fact the obsessively repeated grace notes, vigorous vibratos, excessive wha-wha effects mimic the odd effect produced by electronic audio/video sources like digital audio files or disturbs from digital TV trasmissions.

INTERACTIONS (WITH BRUNO MADERNA)

2018

for 14 instruments

(fl,ob,Cl,Bsn, 1perc(Tt, TempBl, Mar.), Pno, Str (1,1,1,1,1)

 

8' ca.

Piece written after discovering Bruno Maderna's music.

SOMETHING UNDER THE OCEAN?

2017

acousmatic music

8' ca.

Music produced with the only use of analog synthesizers and subsequently reworked through different filtering, with the aim of reproducing the seabed.

SHIT HAPPENS

2017

concrete music

3' ca.

An ode to the Mac after yet another crash ...

MARIMBARAGNAROK
commissioned by Georgi Tsenov

2017

for marimba

10' ca.

A piece dedicated to Georgi Tsenov a virtuoso percussionist; piece of great difficulty, is based on fast and aggressive motifs, enriched with slow sections and polyrhythms; a sense of anxiety persists throughout the piece, representing in my mind the apocalypse of Nordic culture, the ragnarok.

SACREOLOGY (IN MEMORIAM IGOR STRAVINSKY)

2017

for 18 instruments

fl,ob,cl,bsn - hrn,tpt,tbn,tub - 2perc(timp,glock,mar,vib) - Pno - str (1,1,1,1,1)

5' ca.

"Sacreology" is a term I invented, a sort of "study of the Rite of Spring", one of my favorite pieces, composed by my idol, Stravinsky, to whom I dedicated the piece as a memorial. I wanted to blend my style, my ideas, my language with quotes from the famous ballet, trying to pursue the strength, that wild taste of one of the most emblematic pieces of the whole history of music.

FREEZE

2016

for flute, bass clarinet, marimba and accordion

11' ca.

Mixed quartet characterized by a constant bellowshake, a technique used to mimic objects in rapid apparent movement, objects in continuous motion but on the spot, without a precise direction, without goals, frozen. Figures such as trills followed by quick volatines emphasize this "false movement", supported by strong staccato accents produced by the flute and the marimba, and from dull sounds and effects produced with the slap tongue technique by the bass clarinet, effects that are very effective in its darker register.

CHAOS THEORY

2016 rev. 2018

for percussion ensemble and piano

5 perc (WoodB, Thaigong,TempB, Tt,Glock,VIb,Mar) - Pno

8' ca.

COLORS SUITE

2015

Commissioned by "Associazione Culturale Woland"

for piano

17' ca.

Research through the visionary thought of Skrijabin by composing piano suite based on the russian composer's synaesthesia

TURRITA NITRICULA

2016 rev. 2018

for flute

10' ca.

Turrita Nitricula is the transliteration from the Latin name of a type of jellyfish, Turritopsis Nitricula.

This animal is the only living being able to reverse the process of cellular degeneration, thus returning to the embryonic stage, becoming virtually immortal. The piece is therefore structured so that it could in reserve mode. Characterized by aggressive, fast and sudden figures, the piece wants to mimic the movements of the immortal jellyfish, with important dynamic changes, contrasting sections and changes of quarter tones, in order to remember the indefinite movements of the coelenterate.

Film Reels

SOUNDTRACKS

Experience developed mainly in composing soundtracks for silent films, realised for "Le Giornate del Cinema Muto" in Pordenone (PN)

EINE VENEZIANISCHE NACHT (1914)

with three other composers, for large wind ensemble.

LA MEMORIA DELL'ALTRO (1913)

with three other composers, for flute, Bb clarinet, string quartet and piano

At the Studio

MUSIC FOR MEDIA & ADS

Examples of compositions tailored on video advertisements, Tv series, Films and more

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