Scores + Compositions + Recordings
Some info about my Scores + Compositions + Recordings
crackling
Looking for electric guitar players and electric bass players willing to have some fun with this one-page score I wrote years ago for Ron Samworth in a short 3 minutes interlude of a larger piece for the great Hard Rubber Orchestra. If I get a few versions it would be fun to create a remix of all the various takes. I hope someone out there is willing to give it a try. download score here: CRACKLING ...
read more48:48
…a time capsule found in an old hard drive a few days ago. Kenton Loewen, drums Giorgio Magnanensi, electronics & video Recorded live in Vancouver • February 5, 2014 ...
read moreil tempo dei baleni (4F)
Ten years ago I wrote this short piece as a little homage to a great man, musician and friend, Franco Donatoni. Today, almost 10 years later, I’m thinking about Franco again in the 20th anniversary of his passing. The piece was written for the mdi ensemble which performed at the Venice Biennale in September 2010 in a program dedicated to Franco who passed away twenty years ago, August 17, 2000 in Milano. I had never written a piece dedicated to Franco before as all I have been writing in the last 40 years is in some and different ways the result of what I learned studying an working with him for many years and a constant homage to his spirit and generosity. At the same time I wanted to dedicate this older note to him, to remember to others who still might not know about him and his wonderful work, what a great person and wonderful sound thinker Franco Donatoni was. In 2001 I was asked to write something about him for a concert dedicated to his music. I’d like to share that text here again as it is still something which well represent my thoughts, ideas and deep feelings for him. il tempo dei baleni (4F) il tempo dei baleni Radicalizzando: l’ascolto è attenzione, non è apprendimento; l’ascolto è testimonianza di quello che accade in quanto suono, non è conoscenza di quello che accade mediante il suono. Dunque: il suono è la presenza di un assoluto, la sua annunciazione ne costituisce la rivelazione, l’ascolto non è allora certamente l’atto col quale si giunge ad un apprendimento dicorsivo, bensì il momento nel quale la percezione media e congiunge la molteplicità nell’unità della conoscenza formale. L’ascolto è esperienza immediata nella quale la conoscenza coincide all’atto: l’ascolto è ascesi. (Franco Donatoni) Mi è stato chiesto di scrivere alcune note per questa sera dedicata alle musiche di Franco Donatoni. Nonostante la lunga frequentazione con Franco non mi ritengo tuttavia un esperto nel senso stretto del termine e non mi addentreró quindi in disquisizioni musicologiche sul significato di gesto e figura, o sulla natura dei processi trasformativi della sua musica. La conoscenza e l’apprezzamento della sua musica è cresciuto in me fin dall’inizio attraverso il piú puro dei metodi possibili: ripetuti ascolti delle sue composizioni. Questi ascolti mi hanno rivelato le cristalline strutture formali dei pannelli, la ricchezza organica delle trame trasformative e i legami piú o meno sotteranei che collegano sequenzialmente numerose composizioni fra loro. Sono ancora questi ascolti meravigliose lezioni di composizione che Franco ci ha lasciato. Non molto tempo fa a un simposio di compositori canadesi, ascoltavo le minuziose spiegazioni che venivano date per illustrare come si era voluto procedere nella strutturazione della forma e dei materiali, cosa si era voluto esprimere, quanto, perchè, etc. Tutte queste “volontá” per giustificare o dare prospettive univoche o “ragionevoli” alla propria invenzione. Ho pensato allora a Franco, a certa sua riluttanza a spiegare, a dare giustificazioni alla propria fantasia. L’invenzione, l’immaginazione non si spiegano, si donano alla percezione nella loro multiformitá, si fanno ascoltare, agiscono e non sono agite. Questo è il segreto della comunicazione musicale: essa esiste in fondo ad un livello puramente emozionale. L’emozionalitá è immanente, l’espressione è imprescindibilmente legata all’istante, l’istante è imprescindibilmente trascendente. Alcuni si chiederanno cosa ció abbia a che fare con la musica di Franco...
read moreThe Magical Forest
for/with Marina Hasselberg, cello Thank you Marina! Thank you to John Korsrud and to The Hard Rubber Orchestra/An Earful of Vancouver for commissioning this video, and to Marina for her beautiful playing and the embracing of these resonances. This is Panel III from: TDU MH – il fuoco e l’artificio (2018) for cello, 16 Red Cedar and Pacific Maple resonators and live electronics https://giorgiomagnanensi.com/tdu-mh-2/ TDU MH has been written with the support of the Canada Council for the Arts and it is dedicated to Marina Hasselberg. This work is both a statement and a poetic exploration. The statement displays sound in its visceral immanence – il fuoco, the body, the voice. The poetic exploration wanders in multiple metaphors (l’artificio) and symbolic resonances of the Forest, La Selva. “From the family tree to the tree of knowledge, from the tree of life to the tree of memory, forests have provided an indispensible resource of symbolization in the cultural evolution of humankind, so much so that the rise of modern scientific thinking remains quite unthinkable apart from a prehistory in such metaphorical borrowings.” * Starting from here and inspired by the intense quality of resonating wood instruments, I wandered in four imaginary and symbolic landscapes to think, observe and design spatial and sonic analogies to remind myself, and hopefully others as well, about the beauty of the trees, their symbolic powers and the power of imagination and Harmonia: a utopia worth living for and within. The piece is articulated in 4 seamless panels: I. La Selva Oscura • ansia/anxiety Dark winds, vectors of speed II. La Selva Antica • rumore/noise Swarming of voices, colors and games III. The Magical Forest • sogno/dream Veils of expanding spaces and spectral resonance IV. The Place of Correspondences • Harmonia Doubling and pairing; mirrors and transparencies __________________________________________________________________ *) Roland Bechmann, ‘Des arbres et des homes’ (p. 258-63), Paris: Flammarion, 1984 ...
read moreondas de sombra
for Marina Hasselberg Maps and Shadows Is it possible to transform different representations of music to space, and vice versa? Is there a point where they collapse into each other? Sound like space is a place in which we are embedded, in which the sensory experience of reality and artistic form can finally converge. Space as a dimension of time implies movement, maps and presence. Sonorous spaces – like traversable spaces – map our perception of time; and to light sound should be compared when sound is not just what we hear but also the medium of our perception. If we understand the close relation here between listening and seeing, sound and light; then visualizing sound is like understanding that is not about what we “see” as what we see “in”. Beyond the maps, the shadows imply a presence in time and in space; and like walking in the city of Zora – one of Italo Calvino’s Le Cittá Invisibili (Invisible Cities) – we might recognize a place that no one, having seen it, can ever forget: “… the city which can not be expunged from the mind is like an armature, a honey-comb in whose cells each of us can place the things he wants to remember …” (GM) “Music cannot exist without sound, but sound can exist without music. Thus it seems that sound is more important.” Giacinto...
read moredescrittore
A max msp patch tracking pitch/noise. I used it in various ways to create midi files that then are being fed into other instruments and so on… a feedback loop of recursive processes to forget traces and to find new paths, looking for musicality hidden everywhere. ambient 1 https://giorgiomagnanensi.com/wp-content/uploads/2020/06/descrittore-14.mp4 Glenn Gould’s voice https://giorgiomagnanensi.com/wp-content/uploads/2020/06/descrittore-13.mp4 James Joyce’s voice https://giorgiomagnanensi.com/wp-content/uploads/2020/06/descrittore-12.mp4 voice in mellotron https://giorgiomagnanensi.com/wp-content/uploads/2020/06/descrittore-11.mp4 voice/trace: Solo – Trace – Together https://giorgiomagnanensi.com/wp-content/uploads/2020/06/descrittore-10.mp4 synthetic soundscape… https://giorgiomagnanensi.com/wp-content/uploads/2020/06/descrittore-8.mp4 …fed into a software synth https://giorgiomagnanensi.com/wp-content/uploads/2020/06/descrittore-9.mp4 ambient 2 https://giorgiomagnanensi.com/wp-content/uploads/2020/06/descrittore-7.mp4 Silvia Mandolini’s violin and strings traces https://giorgiomagnanensi.com/wp-content/uploads/2020/06/descrittore-6.mp4 recursive max into max into max into max… https://giorgiomagnanensi.com/wp-content/uploads/2020/06/descrittore-5.mp4 ambient 3 https://giorgiomagnanensi.com/wp-content/uploads/2020/06/descrittore-4.mp4 seabus ambient noise https://giorgiomagnanensi.com/wp-content/uploads/2020/06/descrittore-3.mp4 crickets (…traces of, played with midi piano) https://giorgiomagnanensi.com/wp-content/uploads/2020/06/descrittore-2.mp4 ...
read moreminiatures on 5 drawings by Janice Wong
Five of Janice Wong‘s drawings inspired these resonant electronic miniatures. I worked on these images using various readings to generate counterpoints of sinewaves and resonant textures that follow and embody the transparent and spacious structures of Janice’s work. The sound was captured live in the room with 4 microphones. No speakers have been used as my setup includes only metal and wood resonators. – May 23, 2020 Instrumentation: Blippoo Box, Pulse Generator, Sinewave Generator, Cymbal, Steel Drum & Red Cedar stereo resonators 1. 2. 3. 4. 5. ...
read moreAfter Life Studios short improv
A short improv in between sets of ITISYSM’s recording on July 24, 2019 (Roland RS-202 Strings, Blippoo Box, Max Msp, Sitka Spruce stereo resonator) G AFTERLIFE Short Improv(2) [Download] ...
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Dungeon Master
Dungeon Master, recorded live at 8EAST, November 1, 2019 Dungeon Master by Shades of Scorpius JP Carter, Trumpet + FX • Lee Hutzulak, Synthesizers & Sampler Kenton Loewen, Drums & Percussion • Giorgio Magnanensi, Laptop & Piano ...
read moreil suono indaco
il suono indaco (2011) dedicated to Walter Zanetti, Steve Wright and Chris Rolfe with a big thank you and love to Veda Hille and all of you wonderful and inspiring people. Still hoping to fully remount this with the 2 guitars. il suono indaco [Download] panel III ...
read moreMAGIK
MAGIK is a new Vancouver-based project that brings together Giorgio Magnanensi’s resonant woods with two of Vancouver’s most respected musicians, Marina Hasselberg cello, Kenton Loewen drums and Ucluelet based video artists Nicolas Teichrob. MAGIK plays within a multi-layered, live electro acoustic surround sound-space among flat audio panels of hand cut West Coast Red Cedar, Sitka Spruce and Pacific Maple. The panels serve both as wooden resonators and diffusers, becoming the medium of our written and improvised soundscapes. Sound become here indivisible from space, and grows in that relationship as firmly rooted in the material word: the contingencies and the context of each performative space and the poietic analogies. Music and sound become resonance, not only metaphorically but as the very power, force, intensity and becoming of which it is composed. In this regard, the diffusion system is a wonderful instrument to create and support that kind of sonic energy and experience. This project shares ideas and reflections about current artistic practices, and a possible vision where contemporary art and creativity “must occupy the commensurate fields and forms of action, and seek production processes that do not isolate art from life but instead influence life”. (Rudolf Frieling) This seems essential both for the activation of a collective vision and for fostering higher level of impact and engagement within the community that we operate in and support. MAGIK-Info.pdf The audio resonators used in this project are built using large Western Red Cedar, Sitka Spruce and Pacific Coast Maple boards reclaimed from discarded piles of wood in mill operations and drifting ocean logs on the Sunshine Coast of British Columbia. After being sliced and smoothly shaped, they are planed and sanded to thin them down to thickness ranging between 2/16”and 1/4” and finally mounted on a stabilizer wood stand. An amplifier drives the sound into audio transducers applied to the rear of each panel, exciting the wood boards and transforming their surface into a distributed-mode loudspeaker (DML). In this way the audio is approaching an omnidirectional presence in the way the sound from the wood panels is dispersed evenly in all directions. The diffused radiation patterns of all frequencies created on the wood panels expands the audio source. Sound then propagates through the wood in the most liberated and natural way while becoming omnidirectional in the far field. The diffused sound is stunningly beautiful and softly filtered by the smooth quality of Red Cedar and Sitka Spruce or the brighter resonating quality of Maple, which adds to the uncanny character of their physical and sculptural presence. Marina Hasselberg, cello • http://marinahasselberg.com Giorgio Magnanensi, live electronics and resonant audio diffusion Kenton Loewen, drums and percussion • https://www.facebook.com/kenton.loewen Nicolas Teichrob, visuals • http://nicolasteichrob.com More on the wood resonators here: https://giorgiomagnanensi.com/wcr-installation/ https://giorgiomagnanensi.com/category/west-coast-radians/ MAGIK GALLERY @ VNM 2020 with SIlvia Mandolini, violin @ Powell River Public Art Gallery MAGIK notes Kenton, Marina & g @ Sawdust Collector resonators @ China Cloud red cedar detail @ Sawdust Collector setting up at Sawdust Collector (loscil, Kenton & Marina) @ 8EAST Marina Hasselberg @ 8EAST 8 Red Cedar resonators @ Sawdust Collector @ China Cloud @ China Cloud Nic's beautiful Spun Spectra CIRS Installation/Performance setup Red Cedar resonators The Art Centre, Powell River The Art Centre, Powell River The Art Centre, Powell River The Art Centre, Powell River MAGIK...
read moretower of silence
2 songs from Roberto Musci‘s Tower of Silence, where (in the early 90’s) I played “liquid” electric guitar improvisations …another time capsule Voices Of The Ancient [Download] Kioko’s Deck [Download] ...
read moremagik
Marina Hasselberg, cello Giorgio Magnanensi, piano/electronics Kenton Loewen, drums/percussion Silvia Mandolini, Violin ...
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TDU MH
TDU MH – il fuoco e l’artificio (2018) for cello, 16 cedar and maple flat panel resonators and live electronics WEST COAST RADIANS, March 10, 2018 TDU MH has been written with the support of the Canada Council for the Arts and it is dedicated to Marina Hasselberg. This work is both a statement and a poetic exploration. The statement displays sound in its visceral immanence – il fuoco, the body, the voice. The poetic exploration wanders in multiple metaphors (l’artificio) and symbolic resonances of the Forest, La Selva. “From the family tree to the tree of knowledge, from the tree of life to the tree of memory, forests have provided an indispensible resource of symbolization in the cultural evolution of humankind, so much so that the rise of modern scientific thinking remains quite unthinkable apart from a prehistory in such metaphorical borrowings“* […] Starting from here and inspired by the intense quality of resonating wood instruments, I wandered in four imaginary and symbolic landscapes to think, observe and design spatial and sonic analogies to remind myself, and hopefully others as well, about the beauty of the trees, their symbolic powers and the power of imagination and Harmonia: a utopia worth living for and within. The piece is articulated in 4 seamless panels: La Selva Oscura • ansia/anxiety – Dark winds, vectors of speed La Selva Antica • rumore/noise – Swarming of voices, colors and games The Magical Forest • sogno/dream – Veils of expanding spaces and spectral resonance The Place of Correspondences • Harmonia – Doubling and pairing; mirrors and transparencies *) Roland Bechmann, Des arbres et des homes (258-63). Paris: Flammarion, 1984 ...
read moreTDU / MH
some preliminary drafts/studies for a new piece for cello, cedar and maple resonators, sound objects and oscillographic videos for Marina Hasselberg. …more to come studio #1 studio #2 studio #3 studio #4 studio #5...
read moreLied • TDU FS
AVENTA Ensemble // Bill Linwood, Conductor Müge Büyükçelen, Violin • Mieka Michaux, Viola • Alasdair Money, cello • Darren Buhr, Double Bass • Mark Takeshi McGregor, Flute and Piccolo • AK Coope, Clarinet and Bass Clarinet • Darnell Linwood, French Horn • Corey Rae, Percussion • Roger Admiral, Piano ISCM 2017 • The Round House – Vancouver, November 8, 2017 ...
read moreoscillo-graphic score
deep purple an oscillo-graphic score and an excersise in media transference I will soon transcribe and orchestrate the 11 pages of this graphic score made of different frames extracted from the oscillographic video. Hopefully I will be able to perform both versions sometime soon : ) Here’s a reading by Alice Caradente, Harp...
read moreLittle Wheel Spin and Spin
…a very beautiful song by Buffy Sainte-Marie The great Veda Hille with the Plastic Acid Orchestra from Buffy Remix ...
read morelunaire, apparizioni
fließend (b) performed at the Accademia di Belle Arti in Bologna Ensemble Zipangu conducted by Fabio Sperandio fließend (b) • Zipangu [Download] Ensemble Zipangu Direttore: Fabio Sperandio Violini: Alessandro Di Marco, Giacomo Scarponi, Emanuele Benfenati, Anton Berovski, Elvi Berovski, Alessandro Bonetti, David Caramia, Silvia Mandolini, Elena Maury, Cosimo Paoli Viole: Corrado Carnevali, Loris Dal Bo, Emanuela Bascetta, Nicola Calzolari Violoncelli: Mattia Cipolli, Vittorio Piombo, Roberto Cima, Chiara Tenan Contrabbasso: Gianandrea Pignoni The idea of this concert was born of desire to welcome our friend Giorgio Magnanensi, passing through the city, performing his music. To present the composer is an authoritative Giordano Montecchi, always accomplice, whom we thank. It was 1989. That year, the many (already) precarious ones who for years had taught in the Conservatory, got their tenure. So we found ourselves in Parma, Giorgio Magnanensi and myself, he was teaching Harmony and Counterpoint and I History of Music. First colleagues – just a “hello ….. hello ….” – and then, after all, friends together with the discovery of having both a double, or perhaps multiple, musical identity. There was the Magnanensi professor at the Conservatory and there was the Magnanensi who spent the summers in Siena as assistant and then friend of Franco Donatoni. And then there was the “after hours” Giorgio, for whom music meant enthusiasm, adventure, play, falling in love, furores. All translated into an irrepressible creativity pouring into the discovery, experimentation and refinement of a totally free, intuitive and anti-academic music making. Creativity without restraints, yes, but especially infectious and engaging – and this was (as is always the case) the key to everything. Because if autistic experimentalism is a form of pollution of today’s music, creative liberation, conceived as a common, joyful and shared experience, is a dimension that music always needs, like us oxygen. The basic system or device was a poor electronics, driven by inexhaustible ingeniousness, perhaps an electric guitar resting on the knees and reinvented with heterodox interventions and techniques. But, above all, an extreme, empathetic, thoughtful sensitivity for the combination of sounds among themselves and for their flourishing in an unsuspected and enchanting music: that virtue that once was called “gusto“. Among contemplation, light textures and excitements, it was a desire, a pure musical pleasure, often reached together with a small group of improvisers, mutually and intimately listening, also captured in those not only playful, but also spiritually regenerating sound games. And unforgettable. No conservatory or academy could, can or will ever teach this way of making – or rather “being” – music. And that is precisely the germ of that aesthetic subversion that most (if noticed) remove, so as not to undermine the subtly hypocritical ménage of academic avant-garde as Morton Feldman called it. But Giorgio Magnanensi did not remove it. He listened to it, indeed, and he believed it. And at some point he left, slamming the door. After years in which his hyper-reactivity to the tangles of inefficiencies, mediocrity and pettiness that the routine of the typical Italian establishment was inexorably growing: Conservatories, Publishers, Commissions, Competitions, Festival, Theaters … enough! Away! It was 1999. And Giorgio Magnanensi went to Canada to stay there. Telling what he found there would seem like an exercise in xenophilia. Let’s just say that...
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little wheel spin and spin
from Buffy Remix Veda Hille, CBC Radio Orchestra, Alain Trudel Conductor little wheel [Download] Sometimes special songs seem to give a strong voice to the spirit of our time. This project and its making was also special in the way it manifested itself. Maybe it’s just about beauty, something we only acknowledge as an exception and not as an option. “We are helpless, we are part of, we are little wheels. One and one and one make three… giving everything they have.” (Carl Wilson) So let’s hope in a philosophy that transcends these times, one that can overcome the limitation of die Zeitgeist, as I can not reconcile myself with the idea that the spirit of our time is also our own spirit. Little Wheels Spin and Spin Big wheels turn around & around Merry Christmas Jingle Bells Christ is born and the devil’s in hell hearts they shrink Pockets swell Everybody know and nobody tell Little Wheels Spin and Spin Big wheels turn around & around Oh the sins of Caesar’s men cry the pious citizens who petty thieve the 5 & 10s and the big wheels turn around and around Little Wheels Spin and Spin Big wheels turn around & around Blame the angels, blame the fates, Blame the Jews or your sister Kate Teach your children how to hate and the big wheels turn around and around Little Wheels Spin and Spin Big wheels turn around & around Turn your back on weeds you’ve hoed silly sinful seeds you’ve sowed Add your straw to the camel’s load Pray like hell when your world explode Little Wheels Spin and Spin Big wheels turn around & around Swing your girl fiddler say Later on the piper pay Do see do, swing and sway Dead will dance on judgement day Little Wheels Spin and Spin Big wheels turn around & around Little Wheel Spin and Spin with the PAO and Veda Hille last September: little wheel PAO rev [Download] from Buffy Sainte Marie’s 1966 album Little Wheel Spin and Spin: My country ‘Tis Of Thy People You’re Dying ...
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tamas III
for shamisen and Japanese percussion ensemble tamas III – score tamas III [Download] Pro Musica Nipponia 40th Anniversary Composer Competition, 2ndPrize– Tokyo, Japan 2005 Pro Musica Nipponia 40th Program tamas III was premiered by Pro Musica Nipponia on January 25, 2005 in occasion of their 40th anniversary celebration Shamisen, Shika Kikai This piece is the result of a meeting in which I had the pleasure of sharing the same love for Beauty with a wonderful musician like Hirokazu Sugiura. So, still and again, I assimilate myself to my subjectivity, assimilating myself to it in an attempt to “see” through a more speculative method of thought. In a constant motion toward or away from potential, the tentative, the ephemeral… first meeting, last meeting. Dedicated to Hirokazu Sugiura • Tokyo, April 1998 ...
read moreTDU XXI
Standing Wave performs TDU XXI • April 17, 2016 featuring Veda Hille • Orpheum Annex, Vancouver...
read moresix sound objects
for the Plastic Acid Orchestra with the Lions Gate Youth Orchestra, and François Houle Live recording (from the audience) at The Centennial Theatre, January 30, 2016 Vieo is HERE 6 sound objects [Download] ...
read moretilál
for solo cello, ensemble and electronics October 12, 2009 Oratorio San Filippo Neri, Bologna FontanaMix Ensemble Francesco La Licata, conductor Francesco Dillon, cello tilál [Download] Bologna Festival fontanaMIX NuovoAntico 2009...
read moreonyx • introduzione and tableaux
Live recording, Open Space, Victoria • November 22, 2014 Dedicated to the Onyx Trio: Mark McGregor flute, Joy Yeh harp, Markus Takizawa viola Onyx Introduzione & Tableaux [Download] ...
read morepao • halloween
written for and played with the PAO, a great ensemble of great people. October 31, 2014 • Performance Works PAO HALLOWEEN [Download] page 9-12 @ 02:54 of the audio file ...
read morelalít III • tre pannelli con Coda
A great performance of lalít III • tre pannelli con Coda by Transmission lalít III [Download] Guy Pelletier, flute Lori Freedman, bass clarinet Alain Giguère, violin Julie Trudeau, cello Julien Grégoire, percussion Brigitte Poulin, piano with Brice Gatinet, electronics lalít III (tre pannelli con Coda) for alto flute, bass clarinet, violin, cello, piano, percussion and electronics (2012) lalít III is dedicated to Transmission My work aspires to be speechless, not eloquent, without the urgency of communicating anything. If it expresses anything at all, that is pure character – essence more than intentionality. It manifests potential energy more than activity, relying on its own bare existence. lalít III has been written thinking to what Luciano Berio once described as a “virtuosism of collaboration”. Here, in this kind of virtuosism, writing is fulfilled in the possibility of existing in the pure hands of (…those yes) really eloquent artists. lalít III is articulated in three panels and Coda with defined sound and colour qualities. The live electronics component is performed live and freely interacting with the performance of the written materials. In my practice I use the technique of collage and assemblage of heterogeneous forms with a programmatic character in which pre-formed material (written and/or recorded) is treated as raw material available for re-creation. The material of form is here the material’s form. The fragmented nature of the events underlines its character of work in progress: a sort of tale without beginning and ending, a permeable space declaring its non-obstruction to the diverse voices and soundscapes. Simultaneity, policentricity and overlapping points of view are the characteristic elements of this work. The sound texture is not merely the addition or subtraction of a number of isolated events, but is a more complex combination of sound events that works in a strategy of an imaginary scenography. Other elements for a possible reading of lalít III’s soundscape are: waveforms, slowness, speed, space. lalít III (tre pannelli con Coda) • Performance Notes Panel I [aprox. 4’] Instruments enter scattered on material A, gradually and freely interpolating α materials. The idea is to create a variable texture crossfading from A to α increasing the density and the dynamic of this section. The general dynamic of this section should be: pp ff Panel II [aprox. 1’/1’30”] On cue (one player will give the cue for the change) everyone jumps on Cue1. Suddenly and without interruption: pp subito Cue 1 should last at least 1 minute; again a very textural segment with very variable speed. After 1 min each player ad libitum and not simultaneously move to Cue 2 Panel III [aprox. 1’/1:30] Cue 2 should allow for more “space”, so players should repeat the given segments articulating more counterpoint-like textures with variable instrumental densities, and possibly improvising on the given material while dialoguing with the electronics. General dynamics of this panel is still soft but variations are welcome, while gradually fading to ppppp Coda [aprox. 2’] Coda starts without gaps, just after the fade out of Panel III. From ϒ repeat twice, gradually slowing down to =50 , and not trying to maintain any synchronization among the parts. ...
read moreTDU/HRO • le feu et l’artifice
for 4 sax, 4 trumpet, 4 trombones, violin, electric guitar, piano, bass, drums and percussion dedicated to the Hard Rubber Orchestra and John Korsrud TDU/HRO • le feu et l’artifice While writing for or conducting the Hard Rubber Orchestra I have always had a lot of fun and deeply enjoyed the energy and sounds of all the great musicians of this band. Therefore I have been very excited writing this new piece, and once again I wanted to take advantage of my association to the ensemble and its potentials, writing a piece that would enhance the virtuosic qualities of all its members. A virtuosity based rather on a idea of collaboration than just on skills and technologies involved in a purely technical execution; its main goal being to attain an intense creative flow and a reinforcement of the balance between a purely visceral co-creation (le feu) and a purely intellectual interpretation (l’artifice). The score is also a further investigation of teatro dell’udito (TDU) project in which I explore techniques of collage and assemblage of heterogeneous forms with a programmatic character, evolving in relationship rather than static blocks. The fragmented nature of these forms underlines its character of work in progress: a sort of tale without beginning and ending, a permeable space declaring its non–obstruction to diverse voices and soundscapes and working in a strategy of an imaginary scenography. ...
read morevnm panorama
VNM Panorama A recombinant live remix for ensemble and electronics to celebrate VNMʼs 40th Anniversary. Samantha Fu, flute Colin MacDonald, saxophone Albertina Chan, harp Chris Morano, piano Adrian Verdejo, guitar Katie Rife, percussion Timothy Van Cleave, percussion Janna Sailor, violin Marina Hasselberg, cello Stefan Hintersteininger, cello VEE members Chris Grigor, electronics Lee Hutzulak, electronics Constantine Katsiris, electronics Stefan Smulovitz, electronics Giorgio Magnanensi, conductor...
read moreTDU/HRO
a remix of an excerpt of TDU/HRO for the Hard Rubber Orchestra: Trumpets: Derry Byrne, Vince Mai, Jim Littleford, John Korsrud Trombones: Dennis Esson, Rod Murray, Hugh Fraser, Brad Muirhead Saxophones: David Branter, Bill Runge, Saul Berson, Chad Makela Piano: Allen Stiles El. Guitar: Daryl Jahnke Violin: Cam Wilson El. Bass & Db: Laurence Mollerup Percussion: Jack Duncan Drums: Bernie Arai Conductor: Giorgio Magnanensi re-reading this…: Entendre, “to hear” also means comprendre. “to understand,” as if “hearing” were above all “hearing say ” (rather than “hearing sound”), or rather, as if in all “hearing” there had to be a “hearing say,” regardless of whether the sound perceived was a word or not. But even that might be reversible: in all saying (and I mean in all discourse, in the whole chain of meaning) there is hearing, and in hearing itself, at the very bottom of it, a listening. Which means: perhaps it is necessary that sense not be content to make sense (or to be logos), but that it want also to resound. My whole proposal will revolve around such a fundamental resonance, even around a resonance as a foundation, as a first or last profundity of “sense” itself (or of truth) . [from Jean-Luc Nancy, Listening] ...
read morewe no longer…
for sax, trumpet, 2 trombones, violin, electric guitar, keys, bass, drums, 2 voices, electronics and video we no longer [Download] dedicated to Coat Cooke, NOW and Orkestra Futura, Scotia Bank Dance Centre • 23 XI 2012 ORKESTRA FUTURA Coat Cooke sax/flute George E. Lewis trombone Giorgio Magnanensi conduction, electronics and video Brad Muirhead trombone Skye Brooks drums Kristian Naso trumpet Jesse Zubot violin Chad MacQuarrie electric guitar Clyde Reed bass Lisa Miller keyboards Lee Hutzulak electronics DB Boyko vocals Peter Hurst vocals ...
read morequid
with the Titanic and Cage in the background remix the last 2 min with this The Latin word quid is the neuter form of quis, which is the feminine and masculine form. As an interrogative, it means what, who. As an indefinite, it means anybody, anyone, anything. quid [Download] for flute, bass clarinet, French horn, viola, cello, double bass, percussion, live video and live electronics dedicated to Jordan Noble, performed live at the Vancouver Aquatic Centre by Aventa Ensemble Mark McGregor, flutes Darnell Linwood, horn Muge Buyukcelen, viola and violin Mieka Michaux, viola Alasdair Money, cello Darren Buhr, double bass Corey Rae, percussion Bill Linwood, percussion and conductor with guests Colin MacDonald, saxophones Adrian Verdejo, electric guitar AK Coope, clarinets ...
read moreTDU/Q
for 4 saxophones, live mix & live electronics TDU/Q is dedicated to Quasar Quatuor de Saxophones Marie-Chantal Leclair, Mathieu Leclair, André Leroux, Jean-Marc Bouchard Montréal, Monument National • March 30, 2012 TDU/Q TDUQlive02 [Download] a short video excerpt HERE ...
read morefließend (b) excerpt
for string orchestra Excerpt from a live performance by the Victoria Symphony Orchestra, Giorgio Magnanensi conductor – January 12, 2004 • Farquhar Auditorium, University of Victoria mp3...
read moreteatro dell’udito VI LE02
for Chris Rolfe a 2nd LE remix Penderecki String Quartet TDUVIle02 [Download] ...
read moretamas II
for double bass and percussion Call the world if you Please “The vale of Soul-making.” John Keats to George and Georgina Keats, Feb. 14 – May 3, 1819 tamas...
read moresound thinking
scoring is an endless process… …of imaginific translation; soundthinking through ears and eyes: personum Here are a few scattered drafts and notes that represent visual crumbles of that process ...
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early reflections
for two electric guitars Elena Casoli & Jürgen Ruck electric guitar Konzerthaus • Wien, Austria • November 11, 1995 mp3...
read moreand yet know I how Heather looks
live electronics (for HG) Havana Theatre • Vancouver, May 1997 mp3 [Download] ...
read morealate
for flute, oboe, clarinet, violin, viola, cello, vibraphone & marimba ensemble Octandre, Giorgio Magnanensi conductor • Bologna, December 1988 alate (Score).pdf mp3 [Download] ...
read moreteatro dell’udito III
for bass clarinet and live electronics dedicated to Lori Freedman teatro delludito III ...
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early reflections
for 2 electric guitars dedicated to Elena Casoli and Jürgen Ruck in memoriam FZ early reflections ...
read moreaura
for bass recorder and electric guitar dedicated to Elena Casoli and Antonio Politano aura Seguo il segno che la mano imprime sul foglio, tutto ciò che si muove e non ha nome. Scrivo per quella parte di me che in qualsiasi altro luogo dovrei cancellare: nel silenzio della parola che accoglie il canto, in cerca di un orizzonte dove il riflesso della luce non squarci la terra, nel tempo che si dilata e non ha alcun luogo, nelle mani che sfiorano le corde nella loro irraggiungibile indifferenza. (Bologna, Settembre 1995) *** I follow the sign that the hand imprints on the sheet, everything that moves and has no name. I write for that part of me that anywhere else I should erase: in the silence of the word that welcomes the song, looking for a horizon where the reflection of light is not ripping the earth, in the expanding time that has no place, in the hands touching the strings in their unreachable indifference. (Bologna, September...
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color temporis
for alto & baritone sax and prepared piano Mario Marzi saxophone, Paolo Zannini piano mp3 [Download] and here a great performance by THE BENT NOTE duo, Allison Balcetis (sax) and Sandra Joy Friesen (piano) SaxOpen – 17th World Saxophone Congress in July 2015, Strasbourg, France....
read moreaureolus • part III “Mescolamenti ed Apparizioni”
inspired by one of the four treatises of Theophrastus von Hohenheim, called Paracelsus The Book of Nymphs, Sylphs, Pygmies, and Salamanders I. Natura II. Ambiente III. Mescolamenti ed Apparizioni III. Mescolamenti ed Apparizioni Original Italian: Mescolamenti ed Apparizioni Translation below Elena Casoli electric guitar, Alessandro Rossi voice, Giorgio Magnanensi text and live electronics Progetto Musica 2000, Acquario Romano • Roma, November 9, 1994 mp3 [Download] III. Mixings and Apparitions copper rain! this deformed and confused joy provokes the soul… all full of demons… the winners of the useless dreaming: Diogenes, Hermia, Eutalius, Priscianus, Isidorus, conic sections… Simplicius, Diophantus’ equations… vain presumptions… curdled milk it doesn’t show off, and for that reason it shines toasted wheat it doesn’t affirm itself, and for that reason manifest itself sour honey it doesn’t boast, and for that reason it succeeds …and so, taking advantage from what it is, I use what it is not, in truth, certainly and without any doubt… the irony… the contemplation, it is here, …it is my jump… …the art of balance, it guides myself only, hidden and nameless, announcing monstrous beasts’ loves: coupling of green lizards with swans… clamors, in which all the beasts scream with an unspeakable fear of eternity… for myself only, it guides me to the evidence of each instant, of each thought… slow, heavy, till the flame of the origin… to the invention of the code slow, heavy, chronic, leaden… without thinking, in the fire’s stench… catastrophe’s silence… the purest fire… …and the sea…the fire… A N I M E A M A R O C U O R E a door! which will detach you from everything!...
read moreaureolus • part II “Ambiente”
inspired by one of the four treatises of Theophrastus von Hohenheim, called Paracelsus The Book of Nymphs, Sylphs, Pygmies, and Salamanders I. Natura II. Ambiente III. Mescolamenti ed Apparizioni Original Italian: Ambiente Translation below Elena Casoli electric guitar, Alessandro Rossi voice, Giorgio Magnanensi text and live electronics Progetto Musica 2000, Acquario Romano • Roma, November 9, 1994 mp3 [Download] II. Environment I have still a story to tell you… he is not greedy in showing his sleepy treasures! some stones! …this city have always seemed a desolate mass of stones… maybe I have what you are looking for, sirs… precious things… like fire mixed to scents I concentrate in my breathing… till I exhaust myself, I shine my mirror, dark, I am comprehending, yes, yes, I comprehend everything around me… and I retire my body… maybe I have what you are looking for, sirs… the sky remains absolutely pure… and immensity invisibly shreds… the sky remains absolutely pure yes, yes, tonight or never again… you are funny, funny Aureolus! how many of these witnesses can this great scholar with acute glance see!? strange trolls, Ammobates, Asterions, Penfredons, Kelidres, Selsyrses, Marine Hares, Ceratus Caterpillars, Megalauns, Bargis Swans, Ascolabes, Buprostes, Apimaosses, Tarantulas, yes, yes, all in Hermis’ kingdom… let’s bet they are not going to Bysantium! yes, yes, I comprehend everything when the Opus is done… the golden sand sparkles in the creek… try it yourself! a life for the truth! and to avoid it could resurface again it will be covered with other memories, in the hall, behind closed doors, piled up to removed entities “and such ideas where coming from the opinion in which we were that the air and the world were all full of spirits: an incandescent copper rain…this is the world of the imaginary entities, of Gnomes, Sylphs and frail Salamanders”. ...
read moreaureolus • part I “Natura”
inspired by one of the four treatises of Theophrastus von Hohenheim, called Paracelsus The Book of Nymphs, Sylphs, Pygmies, and Salamanders I. Natura II. Ambiente III. Mescolamenti ed Apparizioni Original Italian: Natura Translation below Elena Casoli electric guitar, Alessandro Rossi voice, Giorgio Magnanensi text and live electronics Progetto Musica 2000, Acquario Romano • Roma, November 9, 1994 mp3 [Download] I. Nature you are not able to understand… the traveler… and he knows lots of things about the desert, the golden sands and the salamanders’ goitre… …a fairy tale… I almost forgot about it… mad becomes who in the early noon woods’ shade sees a Nymph… a marvelous sight… tell me, did you give them a name? …Siringa Nymph of Arcadia… I passed near by them without seeing them… drowned in the ash… I was floating in a dense vapor all full of demons down there, isn’t it? nocturnal gods, for sure! yes, yes, the rotting of the mind filled with stockpiled time… mythology… faith? they are just work’s hypothesis! yeah, listen to that one!… a story… a series of stories makes up an entire life …Siringa, Nymph of Arcadia… to solve other enigmas… suddenly the light detaches, they become red at contact and the ashes challenge the nights in stone’s burrow… immense dark furnace, fire, its permutations… first sea and of sea half earth… death of fire at the helm of it all… and so again “Cista stolidorum”, Custodia fatuorum” this cosmos… the same for everyone, palpable, thick, is it thin?… impalpable… …without soul… ...
read moreαυως (aurora)
my very first orchestral piece, written in 1986, winner of the Zagreb Biennale, Composer Competition. Zagreb Biennale, April 1987 • Croatian Radio-Television Orchestra, Jean Perisson conductor Unfortunately, as finding orchestras committed to new works has become more and more difficult, after this piece (which btw I was lucky enough to have performed at that time) I wrote only a few large orchestral works. A nice review published on Paris’ Le Monde: “…et surtout un Italien de vingt-sept ans, Giorgio Magnanensi, dont la partition d’un pointillisme léger aux transformations de timbre incessantes dans l’infiniment petit révèle une étonnante richesse d’écriture et produit une impression de rêve lointain, de légende intérieure, poudroyante à l’infini.” (Jacques Lonchampt, Le Monde • April 18, 1987) mp3 [Download] ...
read more…per essere fresco
for violin and prepared piano dedicated to Silvia Mandolini and Brigitte Poulin per essere fresco ...
read moreyombé
for Japanese percussions and electronics dedicated to the percussion ensemble Miska yombé Listen HERE ...
read morecome inutile ornamento
for clarinet and live electronics dedicated to François Houle come inutile ornamento ...
read morebiauté parfaite
for bass recorder, double bass recorder and live electronics dedicated to Kees Boeke and Antonio Politano biauté parfaite ...
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il suono blu
for cl, hrn, trp, piano, perc, 2 vl, viola, cello, db and live electronics Aventa Ensemble, Bill Linwood conductor mp3...
read moretamas II
for double bass and percussion Corrado Canonici double bass, Maurizio Ben Omar percussion tamas-II...
read moreein wort
for oboe, clarinet, trumpet, trombone, double bass Zephyr Ensemble, Francesco La Licata conductor mp3 [Download] Ein Wort Ein Wort, ein Satz – : aus Chiffren steigen erkanntes Leben, jäher Sinn, die Sonne steht, die Sphären schweigen und alles ballt sich zu ihm hin. Ein Wort – ein Glanz, ein Flug, ein Feuer, ein Flammenwurf, ein Sternenstrich – und wieder Dunkel, ungeheuer, im leeren Raum um Welt und Ich. (Gottfried Benn) One word, one sentence—: From ciphers rush life beknownst, sudden sense, the sun halts, the spheres hush and all things onto it condense. One word—one gleam, one flight, one fire, one firebrand, one shooting-star— and once more darkness, endlessly, in void space round world and...
read morebesamím
for six female voices with stone percussion, fl (also alto), cl, vc, harp Caronte & Nym ensemble, Giorgio Magnanensi conductor mp3...
read moreyombé
for 3 japanese percussions and live electronics MISKA Ensemble, Giorgio Magnanensi live electronics Tokyo 1995 yombè...
read moreun raggio (l’ombra e lo sguardo)
for clarinet (bass cl.), trumpet, piano, 2 percussions, violin, double bass and live electronics Array Ensemble, Toronto • Dedicated to Allison Cameron un raggio...
read moredragma
for recorder, ensemble and live electronics Antonio Politano recorder, Giorgio Magnanensi live electronics Ensemble Musica Attuale • Bologna mp3...
read morebiauté parfaite
for bass recorder, double bass recorder and live electronics Kees Boeke bass recorder, Antonio Politano double bass recorder, Giorgio Magnanensi live electronics mp3...
read moreaila
for cl (Bass cl), vl, vc, piano (prepared piano), drums, live electronics and dancer piece written for Standing Wave and Barbara Bourget (Kokoro Dance) mp3...
read moreteatro dell’udito
teatro dell’udito (...the first one), for Standing Wave AK Coope clarinet, Rebecca Whitling violin, Peggy Lee cello, Allen Stiles piano, Vern Griffiths percussion, Giorgio Magnanensi conduction and live electronics with Veda Hille piano & vocals, Christie Reside flute, Cameron Wilson violin, Steve Wright guitar, Kedrick James screaming and spoken words teatro-dell-udito-sw [Download] download Teatro dell’udito poster and the Program dispersion, infiltration, osmosis, adoption, abstraction, contagion music that aspires to the dimension of scent the ONE converting, integrating and engulfing the MANY the MANY are not isolated, they are in a state of mutual contamination musical communication only exists on a purely emotional level. emotionality is immanent, expression is definitely linked to the instant, instant is unpredictably transcendent. PREFORMED MATERIAL AS RAW MATERIAL – AVAILABLE FOR RECREATION where the material of form is the material’s form teatro dell’udito • TDU A possible meaning of this work rely on the redistribution of sound, on rendering the sound available to a re-creation on a perceptive level, I find here a sense of openness, listening, unrestricted space and flowing movement. I feel very attracted by this variable and ever changing flow. I don’t feel a need to look for absolute causes or reasons, I don’t recognise myself in hierarchical systems of thought that endlessly try to “explain” and to “give reasons”. No musical piece here can be reduced to a formula or to a score. Simultaneity, policentricity and overlapping points of view are the characteristic elements of this work. The sound texture is not merely the addition or subtraction of a number of isolated events, but is a more complex combination of sound events that works in a strategy of an imaginary scenography....
read moremu • 無
for piano, video and live electronics Andrew Czink piano, Giorgio Magnanensi live electronics, David Murphy & Hans Samuelson video Vancouver, February 1998 Harangue II, CD Earsay 1999 mp3...
read morees soll alles schweben
for flute (piccolo), clarinet (bass cl.), violin, cello, piano (öenm) Salzburg, Herbert Grassl conductor Nuova Officina Bolognese, CD1992 mp3...
read moreextensio modi
for prepared piano and live electronics Oscar Pizzo piano, Giorgio Magnanensi live electronics Musica Presente, CD Ricordi 1994 extensio modi (Oscar Pizzo)...
read moreaon
for voice, drums and live electronics Kate Hammett-Vaughan voice, Tom Foster drums, Giorgio Magnanensi live electronics CD Kate–HV 2006 mp3...
read moreII quartetto per archi
for string quartet Arditti String Quartet Irvine Arditti • 1st violin David Alberman • 2nd violin Garth Knox • viola Rohan de Saram • cello Live recording, November 1991 mp3 [Download] An early graphic plan for the score: ...
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tamas
for 4 timpani Sawako Yasue timpani CD Bishop Records 2008 tamas-sawako [Download] ...
read morelalít
for flute, clarinet, violin, cello, prepared piano, percussion, circuit bent toys, live mix and live electronics written for Continuum Ensemble mp3...
read moresere
a piece for/with Serena Teatini Serena Teatini voice, Giorgio Magnanensi live electronics Harangue I, CD Earsay 1998 mp3 [Download] ...
read moreethuiá V
for French horn and electronics Darnell Linwood French horn, Giorgio Magnanensi electronics mp3...
read more…per essere fresco
for violin and prepared piano Silvia Mandolini violin, Brigitte Poulin piano mp3 [Download] ...
read moreNeil Remix (live)
CBC Radio Orchestra, Alain Trudel conductor, Veda Hille voice and piano, Steve Wright guitar Chan Centre • Vancouver, April 20, 2008 1. Ohio 2. A Man Needs a Maid 3. Transformer Man 4. Deep Forbidden Lake 5. Cortez the Killer 6. After the Gold Rush mp3...
read moreOhio & Deep Forbidden Lake (Neil Remix no.1 & 4)
from Neil Remix for voice, piano and chamber orchestra Ohio Deep forbidden lake 1. Ohio 2. A Man Needs a Maid 3. Transformer Man 4. Deep Forbidden Lake 5. Cortez the Killer 6. After the Gold Rush Music and Lyrics by Neil Young arranged by Giorgio Magnanensi The duration of the full cycle is about 20 minutes. SCORE IN C ORCHESTRATION 2 Flutes, 2 Clarinets in Bb, 2 Oboes, 2 Bassoons, 1 French Horn, 1 Trumpet in Bb, 1 Tenor Trombone, Timpani, 2 Percussion, Vibraphone, Marimba, Glockenspiel, Bass Drum (Gran Cassa), 2 Low Cymbals,, Nipple Gong (pitched low G), high and low congas, bird call, 4 round river stones, 1st Violins (divisi), 2nd Violins (divisi), Viola (divisi), Celli (divisi), Double Bass (divisi) plus piano, Fender Rhodes, guitar and vocal soloist PROGRAM NOTES In Italy when I was young, I listened occasionally to Neil Young but never really understood very much about him. One thing though I already enjoyed in his songs at that time: a sense of harmonic color and a perfect “imperfect” voice, always hitting the right note. When I met Heather, years later in Vancouver, she was often painting listening to Neil Young’s songs. I still felt some attraction to Neil Young — for nothing else than the fact that someone I loved deeply was listening to his music — but I was still trying to grasp the real meaning of that attraction. Thanks to Heather’s repeated listening and her beautiful paintings, I have finally discovered the beauty of his work, his tender and powerful charisma, a sense of home that I have found in this wonderful country after living here for ten years. ( GM ) Neil Remix is dedicated to Heather Gatz A special thank you to Veda Hille, to all the great musicians of the CBC Radio Orchestra, Denise Ball and to Alain Trudel who is one of the few great conductors we are lucky to have had making our music. These songs are beautiful enough to speak for themselves; I tried to support their intensity and beauty with shadows, lights and colors. Thanks to Neil Young for his inspiring music and words. ( GM • Roberts Creek, December 2007 ) Commissioned by CBC Radio ...
read moreCod’ine & Little Wheel (Buffy Remix no.2 & 6a)
from Buffy Remix for voice, piano and chamber orchestra Cod’ine Little Wheel • Part 1 1. Summer Boy 2. Cod’ine 3. Now That the Buffalo’s Gone 4. Cripple Creek 5. Winter Boy 6. Little Wheel Music and Lyrics by Buffy Sainte-Marie arranged by Giorgio Magnanensi The duration of the piece is about 20 minutes. SCORE IN C ORCHESTRATION 2 Flutes, 2 Clarinets in Bb, 2 Oboes, 2 Bassoons, 2 French Horns, 2 Trumpets in Bb, 1 Tenor Trombone, Timpani, 1 Percussion (Marimba, Vibraphone, Glockenspiel, Crotali, Bass D rum, Snare Drum, Hi-Hat, Congas, Tambourine, Low Cymbal, Woodblocks, Kalimba (thumb piano), 1st Violins (divisi), 2nd Violins (divisi), Viola (divisi), Celli (divisi), Double Bass (divisi) plus piano and vocal soloist PROGRAM NOTES “The real art occurs in the imagination. Then the work begins. The tools are whatever we can get, beads or pixels, hunting bows or an orchestra.” (Buffy Sainte-Marie) The arrangements I composed for Veda Hille and the CBC Radio Orchestra are homage to this spirit, homage to a great artist never given enough credit, whose art and activism will be always inspiring. (Giorgio Magnanensi) Dedicated to Veda Hille Buffy Remix was written in December of 2006 in Roberts Creek, B.C. Commissioned by CBC Radio ...
read moreteatro dell’udito VI (string quartet III)
for string quartet and live electronics dedicated to Chris Rolfe teatro delludito VI listen the live performance HERE listen to sonification of the pdf score HERE ...
read morelist of works
Here follows a listing of my published compositions, other compositions and audio visual installations. As for some recordings I have been denied permission to post online, if you don’t find the recording of a piece here, I can send you one if I have it. LIST OF WORKS ORCHESTRA Áous, 1986 * Trema, 1989 Fließend, 11 strings, 1992 ** Il ghiaccio, il calore, l’autunno, il tessuto, 1998 Fließend (b), 21 strings, 2003 Buffy Remix, orchestra remix of six songs by Buffy Sainte-Marie 2006 (1) [see details about commissioner on page 13] Neil Remix, orchestra remix of six songs by Neil Young 2007 (1) God is alive, magic is afoot, remix of Buffy Sainte-Marie’s song based on Leonard Cohen’s homonymous poem, 2007 (1) Carr Remix, orchestra arrangements of seven songs by Veda Hille based on texts by Emily Carr, 2011 (2) Il suono indaco, for orchestra, live video and live electronics, 2011 (2) In ludere (il suono viola), for orchestra and conduction, 2014 six sound objects, chiasmus for large orchestra, conduction, clarinet and electronics, 2017 Tony Remix, string orchestra remixes for a new song cycle by Tony Wilson, 2018-19 (37) CHAMBER MUSIC (solo, small and large ensemble) Nátel, 2 violins, 1985 ** Quartetto per archi, string quartet, 1985 …y rayada…, alto flute, bass flute, Eng. horn, clarinet, bass cl, bassoon, 3 violas, cello, double bass, 1985 Elséliar, harp, 1986 Rasgos, guitar, 1986 Onda, bass clarinet, vibraphone/marimba, 1987 * Alate, flute, oboe, clarinet, violin, viola, cello, vibraphone/marimba, 1987 ** Aire, flute (alto flute), 1987 * Nid, 2 flutes, 2 trumpets, 2 trombones, 2 cellos, 2 double basses, 2 percussions, 1988 ** Äon, flute (piccolo), bass clarinet, cello, celesta, marimba, 1988 ** Ethuiá, violin, 1988 Nim, violin, cello, piano, 1988 ** Secondo Quartetto per archi, string quartet, 1989 * …poi che del ver… , flute, harp, 1989 ** Trims, flute, violin, bass clarinet, piano, 1989 * Alia, cello, 1990 Liànas, marimba, 1990 * Max, baritone saxophone, piano, percussion, 1990 Al bianco cielo, cello, 1990 Ethuiá II, violin, 1991 Es soll alles schweben, flute (piccolo), clarinet (bass clarinet), violin, cello, piano, 1991 * (3) Ein Wort, oboe, clarinet, trumpet, trombone, double bass, 1991 ** Tāmas, four timpani, 1991 ** Tāmas II, amplified double bass, percussion, 1991 (4) Se dell‘eterne idee, recorder, flute (alto flute), harp, 1992 ** Color temporis, amplified alto saxophone (also baritone), amplified prepared piano, 1992 ** Le temps comme temps, 2 oboes, English horn, live electronics, 1992 * Ameyá II, flute, clarinet (bass clarinet), violin, cello, prepared piano, 1993 Nè il vento la luna, alto flute (bass flute), prepared piano, 1993 Integer valor, alto recorder (bass recorder), live electronics, 1993 Dragma, alto/bass recorder, French horn, trombone, 2 vl, viola, cello, double bass, live electronics, 1993 Biauté parfaite, bass recorder, contrabass recorder, live electronics, 1993 Early reflections, 2 electric guitars, 1994 Noise gate, amplified viola, live electronics 1994 Ethuiá IV, electric guitar, sampler, live electronics, 1994 Helmax, electric guitar, sampler, live electronics, 1994 Yombè, 3 Japanese percussions, audio tracks1995 CHFL, recorder, electric guitar, live electronics, 1995 Aura, contrabass recorder, electric guitar, 1996 Lalìt, flute, clarinet, violin, cello, piano, 1998 (5) Tāmas III, solo shamisen, 3 Japanese percussions, 1998 Miki, 13-string koto, sampler, live electronics, 1998 Ipsa Venus (nota polare La), guitar, violin, live electronics, 1999 Raw meat and butterflies, accordion, live...
read moreethuiá VI
for 2 sax, trumpet, violin, viola, double bass, electric guitar, drums, percussion, sampler & electronics Ensemble SuperMusique, Montréal mp3...
read moreinsidie cromatiche
a piece for the Hard Rubber Orchestra for ensemble, circuit bent toys, video and live electronics. This is a video remix of the live performance during ENTER/EXIT...
read morese dell’eterne idee
for Recorder, Flute and Harp (all amplified) Manuel Zurria • flute/piccolo, Antonio Politano • recorders, Claudia Antonelli • harp One of my first attempt at a process of co-creation Alter Ego, CD BMG 1993 mp3 [Download] Bello by Cuoghi & Corsello (1996)...
read morecome inutile ornamento
for clarinet and live electronics Françoise Houle clarinet, Giorgio Magnanensi live electronics CD Earsay 2005 mp3...
read morenota polare La (ipsa Venus)
for Walter Zanetti guitar and Silvia Mandolini violin; Giorgio Magnanensi live electronics mp3...
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