Written in 2008, “Hammerklavier” – for quadriphonic tape (also stereo version available) – is based on some recordings taken inside a grand piano. These are not obtained playing the instrument in the usual way, but stopping, striking, plucking and brushing the strings and the instrument’s body, in order to obtain the resonances of the piano without clear pitched sounds. The electronic media extracts some features from it, splitting the spectra in separate slices, modifing the attack with a pluck string model, using it as an impulse reponse for convolution, disposing the derivated materials in the quadriphonic space and assembling it in the time-domain in order to build an organic form. The softwares used are Max/MSP and ProTools. The duration is 11 minutes.

Sometimes we are not able to recognize the beauty of the sounds that we can obtain with the musical instruments used in some strange or inusual ways: it’s noise or sound? For many people it is noise, and in my point of view this is a sort of “mental deafness”. My aim – as a composer – is to explore it, using it as material for my musical production. Written in 2007, “con l’arco” – for quadriphonic tape (also stereo version available) – is based on some violin recordings in which the bow is used with heavy pressure and low velocity, obtaining a very noisy and rough sound. The electronic media extracts some features from it, exploring the range that goes from noise to pitched sound, splitting the spectra in separate slices, modifing the attack with a pluck string model, disposing the derivated materials in the quadriphonic space and assembling it in the time-domain in order to build an organic form. The softwares used are Max/MSP and ProTools. The duration is 11 minutes.

The material used for the composition of “L'Amour outragé” is a recording of a fragment from Rameau’s “Platée” performed by soprano Annamaria Calciolari, and the title refers to the text of that fragment. I used granular synthesis in order to obtain a continuus morphing from textures in which pitch and timbre are undeterminate, to others in which original pitch and timbre are recognizable. This is obtained changing the duration of the grains, from very short durations to longer durations. There are two version of the piece: a quadriphonic “concert-version” and a stereophonic version for the cd. The software used is Max/Msp and Pro-Tools. The duration is about ten minutes.

A recording of some “slaps” of the bassethorn and the flute is the main material for the composition of “Inside the pipe” (2004). I used this kind of synthesis: - subtractive synthesis, in which the parameters of the filters are obtained with an analysis of the recording - granular synthesis, in which the grains are obtained from the recording - convolution, in which I used the slaps as impulse response, in order to have the same resonance of the pipe, as the title of the piece suggests. The form of the piece is a sort of  path leading from the slaps of the bassethorn and his  related material  to those of the flute, from the pipe of the first instrument to the pipe of the other. Duration: 8 min.

Composed in 2000 "Pallide risonanze avvolte" (pale resonances wrapped), for basset horn  and live electronics, is thought for two performers meant as a "duo". The live electronic performer must be able to realize the electronic patches and also have an important role in the meaning of the music. It's a virtuoso piece for both performers. The whole piece is built around the same musical material, but the musical context and electronic treatment of the sound are different for each section. It's like observing a tridimensional object from different angles and different lightings.

"Nell'inevitabile e profondo tedio del cristallo" (In the unavoidable and deep tedium of the crystal) for piano and synthetic sounds The main idea of this piece is the utopia about the extension of the piano's percussive sound. For this reason the lower strings of the instrument can vibrate totally freely by using the third pedal. The electronic instrument plays the true extension of the acustic instrument. The synthetic sounds - built with frequency modulation technic - seem to grow up from the piano, pointing out some aspects of the melody and attempting to describe in a analitic way the suggestions of the piano. During the performance a computer's sequencing software controls a FM synthesizer (Yamaha TG77) and a digital sound processor. Four speakers and a mixer with four indipendent outs are required, because the electronic part is quadriphonic. The piano must be provided with the third pedal.

“Giacché nulla io posseggo” (as I own nothing), for clarinet was written in 1989. It’s a virtuosic piece, in which I tried to explore some instrumental possibilities of the clarinet: as well as the peculiar articulations of the instrument there are some blows with several graduations, ascending and descending glissandos, key noises and others. The form of the piece is connected with the progressive exhaustion of the materials: the main motive of the piece is the slow melody of the final part, that is listened when all the develops and all the dramatic implications of it are resolved. The musical writing is often near the style of the improvisation, as in a baroque way, and this contributes to give at the piece a virtuosic trait.