Music written by me, original and arrangement in different classical sub-genres
for string quartet
MALA TEMPORA CURRUNT
for flute, bass clarinet, violin, viola, cello and piano
“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.
Orchestral arrangement of the piano piece "A Blizzard"
to Biagio Micciulla
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 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.
trio for clarinet, double bass and harp
for flute, bass clarinet, tenor saxophone, violin, viola and cello
set of duets for saxophone and clarinet
for chamber orchestra
VERDI SUITE - IV FINALE
for chamber ensemble
An arrangement/mash-up of different themes from Verdi's arias and music.
MAL DI TERRA
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
FUGA IN RE MINORE
on J.S. Bach's "The Art of Fugue" theme - for organ
FUGA IN MI MINORE
On a theme by Gedalge - for keyboard
For two clarinets, harp, viola and cello
for SMsATB and baritone
for flute ensemble
GLITCHES (IN MEMORIAM GIOACCHINO ROSSINI)
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)
for 14 instruments
Piece written after discovering Bruno Maderna's music.
SOMETHING UNDER THE OCEAN?
Music produced with the only use of analog synthesizers and subsequently reworked through different filtering, with the aim of reproducing the seabed.
An ode to the Mac after yet another crash ...
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)
for 18 instruments
"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.
for flute, bass clarinet, marimba and accordion
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.
2016 rev. 2018
for percussion ensemble and piano
Research through the visionary thought of Skrijabin by composing piano suite based on the russian composer's synaesthesia
2016 rev. 2018
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.
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
MUSIC FOR MEDIA & ADS
Examples of compositions tailored on video advertisements