--
Click
the titles with red background to view
infos about the pieces and then to listen to mp3 tracks.
Great-size
mp3 files can take some seconds to start.
INFO
availability of the scores: please send an email to the address indicated at the
page of the Contacts
1) SOLO
PIANO PIECES
·
Microforme, 1992,
4-5’ 1st
perform.: Berlin Philharmonie, 1/8/1993, F. Grasso. 4 aphoristic pieces
·
Suite, 1995, 11’ 1st perform.:
29/2/1996, Orléans, Salle de l'Institut. Other perform. 30/5/1996, Paris,
Salle Gaveau. F. Grasso. In 7 mov.: Monadi,
Contrappunto I, Monodia, Contrappunto II, Intermezzo, Contrappunto III, Les
derniers soupirs de Delphes.
·
Trois images d'après Verlaine, 1998, 9’ 1st perform. 24/5/1998, Nice,
Salle West End, Fabio Grasso. In 3 mov.: Croquis
parisien, Cauchemar, Nénuphars (from 3 poems by Verlaine).
·
La danza segreta
di Maeve, 1999, 7’ 1st
perform. 19/3/2000, Montpellier, Le Corum, F. Grasso.
Other perform. 12/7/2000, Colmar Festival Benedetti Michelangeli, F. Grasso. Inspired by some verses of Yeats’ “Countess
Cathleen”. Maeve – Irish
name of Mab, the shakespearian fairy queen – is the “queen of the invisible
host”, which during the full-moon nights breaks off her ritual dance to cry in
loneliness a mysterious love, lost and forgotten.
·
Der frommen
Kindheit stille Blumenzeiten, 2001, 6’ for piano and digital
support. 1st perform. 12/6/2001, Vercelli, Museo Borgogna, Fabio Grasso.
Inspired by a verse drawn from the cycle of spiritual poems Jugendandacht by
Eichendorff, in which the vision of spring colours and blue skies recalls the
memory of the elapsed childhood, happy and unrepeatable age.
·
Preludio
e Quasi Fuga sul nome B.A.C.H., 2003, 6’
·
Fantasia
Veni Creator Spiritus, 2003, 24’ Polyptych in 9 not
separated episodes: Preludio, Corale, Trenodia, Improvviso, Toccata,
"Fuga", Trenodia eolica, Corale tras-figurato, Postludio. The
conception of this virtuoso piece has been inspired by the philosophical and
theological meanings of the greek word "pneuma" (= Spirit, breath,
wind). Each episode has a subtitle or a non-musical motto (biblical or
literary), that refer to this theme. Many materials derive from the elaboration
of fragments of the Gregorian hymn Veni Creator Spiritus.
·
Les alcyons de Corinthe,
2004/2007, 6’
1st perf. Vercelli, Sala Dugentesca, National Convention of the Classical
Culture Italian Society, 22/4/2007. The title derives from an hellenistic
epigramme, in which the sad flight of the alcyons over the Greek sea seems to
cry the ancient lost freedom.
·
Soupirs
d’un midi aux douteuses lueurs, 2004, 6’ 1st perform.: 19/6/2004, Lieu d'Art
Contemporain de Sigean, F. Grasso. This piece with strong harmonic connotation
(the interval of fifth is clearly predominant), owes its title to a poem by Lamartine,
inspired by a mediterranean landscape (Ischia, from Nouvelles méditations
poétiques).
·
Blumentraum, 2006, 6’,
also for piano, fl, vn, cello. 1st perform. for solo piano: 1/7/2006,
German-Italian Cultural Association, Palazzo Albrizzi, Venice, F. Grasso. Homage to Jean Paul’s Blumenstücke (1795-96) and to the
related Schumann cycle op. 19.
·
Étude-Impromptu Hommage à Ligeti, 2007, 5’
2) TWO
PIANOS
·
Der gefesselte
Strom, 2004-2005, 14’ Some performances: Piacenza, Sala del
Conservatorio, 19/11/2006, Vercelli, Teatro Civico, 23/11/2006, Fabio Grasso
and Antonio Tarallo. “The fettered stream” is the title of an Hölderlin’s poem, which evokes the cycle of a stream and
contemplates its overflowing vital energy and the life-giving spirit which
animates it, in spite of the fetters of its repetitive route. In the piece the
idea of a cyclic flow with ecer-changing nuances is realized through the
aggregation and the disgregation of continuous figurations,
that are alternated and superimposed in aleatory manner.
·
Trois valses oniriques, 2006, 7’.
1st perform.: 19/11/2006, Piacenza, Sala del
Conservatorio, F. Grasso and A. Tarallo. Three
short pieces permeated by thrills of waltz-rhythms, with veiled reminiscences
of Chopin, Berlioz, Ravel. It can be played also for solo piano and piano 4
hands..
3) SOLO
PIECES for other instruments
·
Clinamen, for
oboe, 1993 rev. 2003, 8’
Clinamen is a term of epicurean physics, that defines the inclination of the
trajectory of the atoms, i.e. the deviation from their standard movement. That
is musically interpreted as a series of strong variations on an originally
uniform material.
4) CHAMBER MUSIC – ENSEMBLES < 5 players
·
Quartetto,
for String Quartet, 1998, 16’
·
Encheibròmos, for 4 Harps and Alto Flute, 2000, 12’. Inspired by mythic tales about Athena - the title is
a Pindaric epithet for Athena, that means "with thunderlance". in 3 mov.: Echi dall'ombra della Makrai, Lamento funebre for
la Gòrgone,
Epinicio.
·
Flowery tales
from Arcady, for Clarinet, Violin, Cello, Piano, 2004, 7’ This work draws its
inspiration from John Keats' Ode to a Grecian urn, where the poet's imagination
is caught by an arcadian scene so vital though in its perennial immobility.
·
Blumentraum,
version for Fl, Vn, Cello, Piano., 2005, see above Solo
Piano version.
·
Synaesthesia,
3 pieces for clarinet and piano, 2007, 8’
5) CHAMBER
MUSIC – ENSEMBLES > 5 players
·
La sérénade aux
tristes sourires, for Fl,
Ob, Cl, Bass Cl, Bassoon, Horn, 1 Perc, Harp, Vn, Vl, Cello, 1996, 12’ First
Prize Competition "Journées de la jeune musique" de Marseilie 1999
1st perform. 19/11/999, Marseille, Cité de la musique, Ensemble Télémaque,
·
HEX-A-GON, for Piano, Guitar, 1 Perc, Fl, Cl, Bs, Horn, Tr, Trbn,
1997, 12’
1st perf. 12/9/1998, Amsterdam Gaudeamus Music Week, De Ijsbreker, Ensemble
Télémaque.
·
Die tiefverborgnen Quellen, for Piano and Cello
concertanti, Ob, Clar, Horn, Viola, 2006. 13’
6) CHAMBER MUSIC WITH VOICE
·
Due Notturni su liriche greche, for
Soprano, Fl, Piano/Cel, Harp, 2 Vn, Vl, Cello, 2002, 11’. On Alcman's "silent
night" fragment and Sappho's "full moon" fragment, Ancient Greek
text.
·
Due liriche di
Mimnermo, for woman’s voice and piano,
2005, 8’.
1st perform.: 20/5/2006, Alessandria, Auditorium del Conservatorio. Lucia
Lazzeri, voice, F. Grasso, piano. Ancient greek text.
7) ORCHESTRA
·
Variazioni for orchestra, 2222-222; Tp; 2 Perc; Cel;
Strings div. 33332, 1992, rev.2001, 10’
·
Symphony
of the Spring Plenilune, 3333-4331; Tp; 3 Perc; Piano; Harp; Strings 88664,
1998, aleatory duration (minimum 16’).
Inspired by the prologue of a Psalm, this work experiments with a strongly
aleatory writing, which rests on the perception of the inner time and on the
multi-level flowing of the time.
·
Prière nocturne des glaciers, 2122-11;
2 Perc; Strings 86433, 2001, 10’
·
Fantasia
solipsistica,
2001, 10’
for String Orchestra 99632 (compulsory). Also
in a version for 3 Strings. Quartets.
·
Species
verna diei, 3333; 4331; Tp; 3 Perc; Harp; Strings 12-10-8-6-4 (compulsory);
Digital support ad libitum. 2002, 15’.
In 2 Mov., Finstre Himmelsferne, Frühlingsverklärung, Species verna diei (The
springlike aspect of the day) is a quotation from Lucretius' De rerum natura..
8) SOLO INSTRUMENTS AND ORCHESTRA
·
Katoptroeidès, for
guitar
and orch. 2222-3221; Tp; 3 Perc; Cel; Harp; Strings div. 22342 1996, 18’. First
Prize Ginastera Competition 1996. 1st perform. 24/11/1997, Buenos Aires, Teatro
Colòn, Buenos Aires Philharm. cond. B. D’Astoli, guit. M. Galliano.
·
Concerto for piano and orchestra 2222-222; Tp; 2 Perc; Strings div. 32222. 2000,
25’.
·
Konzertstück, for Violin and Orch. 2222-4231-2 Perc, Cel, Harp, Strings.
12-10-8-6-4 (compulsory), 2004, 10’.
Also in a version for Violin and Piano.
9) VOICES AND ORCHESTRA
·
The unfading threnody, for Tenor, Barytone, Basse;
Man’s recitative voice; Men’s Choir TB (min. 12×2); Women’s Choir SA (min.
12×2); 3333-4331; Tp; 3 Perc; Piano; Harp; Str. 99664 (compuls.), 1996/97,
24’
·
Koròn Epitàphia, for Soprano,
Tenor; 2222-2221; Tp; 1 Perc; Piano; Harp; Str. div. 22222, 1997, 16’. Six pieces on Greek and
German poems.
·
Dämmerungsschauer, for
Soprano; 2222-2221; Tp; 1 Perc; Cel; Harp; Str. 88654 (div. 44452), 1997, 11’. On excerpts from Novalis'
III Hymne an die Nacht.
10) THEATER
·
Hymenaeus
for Antigone (Hyperscenes of tragedy), 2001/2002, 1-Act Chamber Opera, Man’s recitative
voice, Soprano, Mezzosoprano, Alto; Chamber choir SB (monodic parts). Fl, Ob, Cl, Bs, Tr, 2 Perc, Piano/Cel, Harp, 2 Vn, Vl, Vc,
Cb. 40’
about. Multilingual libretto by Fabio Grasso, freely drawn from Sophocles
(Antigone, Œdipus in Colonos), Euripides (Alkestis), Schiller (Kassandra).
11) TWO PIANOS
TRANSCRIPTIONS
Transcription of three movements of STRAWINSKY’s
PÉTROUCHKA (Danse russe, Chez Pétrouchka, La semaine grasse). Some
performances: Piacenza (Sala del Conservatorio), Vercelli (Teatro Civico), F.
Grasso e A. Tarallo. Go to LISTEN for a
mp3 excerpt.
12) CADENZAS to Piano
Concertos: Cadenzas to the 1st and to
the 3rd mov. of the Mozart’s Piano Concerto K467 di Mozart, and to the 1st mov.
of the Beethoven’s 4th Piano Concerto (performed in Orléans, Scène Nationale,
Orch. d’Orléans, 10/12/1996).