Live recorded at CC Schoten, Belgium on 30.04.21
Composition by Stéphane Vande Ginste
Romy-Alice Bols, flute
Stéphane Vande Ginste, piano
https://ummpstore.com/products/vande-ginste-sonata-for-flute-and-piano-fp7516em?_pos=12&_sid=175c49c7a&_ss=r

Sonata for Flute and Piano, 2nd Movement

Giuliano Bracci
Nord | for organ and electronics 2013 
Age-Freerk Bokma, organ

Commissioned by Gaudeamus Muziekweek | Nederlands Fonds Podiumkunsten
In collaboration with Royaumont Foundation (FR) | Time of Music  (FI) | Ulysses network project

Program notes
“Nord” is a solo piece for three organs: a Dutch, a Finnish and a French one. I traveled to visit them and to discover their differences and their own qualities. Every organ is unique, its sound has a strong role in the identity of the place and its huge body becomes part of the architecture.
The first time I have heard the Great Organ of Nicolaï Kerk in Utrecht, I was impressed by the fact that it looked as if it was sounding by itself and the sound filled every single corner of the church. With the electronics I wanted to create the same feeling, so “Nord”is a journey from a wide space without human presence to an intimate “chant” of the organ.

Live recording of the premiere: 
06.09.2013, Gaudeamus Muziekweek, Nicolaikerk, Utrecht
Age Freerk Bokma, organ

Nord

Une petite fleur bleue (2005)
transcription of a Fiore Musicale by Frescobaldi
Recorded live 7.10.2010, Haitinkzaal, Conservatorium van Amsterdam
Anna Britala, Chloé Chabanole vilolins, Katya Woloshyn viola, Wilma Pistorius cello Valentin Villard organ
info: http://giulianobracci.com/?page_id=105

Une petite fleur bleue

Vocal : Mohammad Reza Shajarian
Music : Ed Carlsen
Typography : Shakiba Sajjadi
Mix & Mastering : MooVan
Arrangement : MooVan
Cover : MooVan

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Shajarian x Ed Carlsen | Mara Mibini

Marco Elia Righi - Chlorophelia (2022)
Brano ispirato all'omonimo dipinto di Omar Galliani, Commssionato ed eseguito dall'Orchestra Sinfonica del Conservatorio di Reggio Emilia "A. Peri" e diretto da Marco Boni.

Piece inspired by the Omar Galliani painting by the same name. Commissioned and played live by the Reggio Emilia Conservatory Symphony Orchestra, conducted by Marco Boni. 
LIVE RECORDING

Righi - Orchestral Works

Chlorophelia

Clorophelia

Au pied des spectres, dans la cendre

Trio Buffa;  Opus 310

From the Greek ergo (work) and phobos (fear), ergophobia refers to an excessive and persistent fear of one’s own work and the daily tasks and commitments it entails. This piece draws on the words of the Italian poet Dino Campana (1885–1932), a troubled figure in Italian literature who emerged from a provincial bourgeois background and stood firmly against the common middle- class values that measured a man’s worth by his labor.
Considered mentally ill, misunderstood, and spending much of his life in and out of psychiatric institutions, Campana openly mocked his own condition, ironically calling himself the “electric Campana” after undergoing numerous electroshocks. In homage to the American composer James Tenney (1934–2006) and his pioneering work in noise synthesis, the music channels the intimate physiology of the mouth into an imagined marine landscape through amplification and electronic transformations. 
Conceived as a delicate exploration of the oral cavity, it employs various specialized microphones, such as laryngophones and large-diaphragm models and different types of windshields, including foam and metal screens, to sculpt resonance and subtly reshape or soften explosive consonants.
Amplification shapes and unveils aspects of human vocal production that are normally inaudible or fail to project acoustically into musical form. Through this technology, the voice merges with environmental sonorities to yield timbres that transcend the conventional boundaries of vocal expression, further connecting the piece’s thematic exploration of labor, fear, and poetic resonance with an evolving sonic landscape.

Ergophobia (Noise Study per Dino Campana) [voice | electronics]

Studio Mannaro is a cycle of compositions for saxophone in various ensembles. In Italian, “mannaro” typically refers to a shape-shifting creature, most commonly a werewolf, subtly suggesting the theme of metamorphosis at play. Beyond certain surface elements—such as the resemblance of specific gestures to cries or sonic clichés of animalistic fury—the saxophone reveals a “lycanthropic” quality in its ability to embody the impossible search for balance between two poles of sonic attraction, where the narrative sound is driven to transform by a sudden and irresistible impulse. Anyone who has psychologically experienced the inability to resist such a call—and the resulting sense of vertigo, fear, or pleasure—may recognize something of their own inner world in the contrasts between extremely slow and frenetically fast passages, between the purity of harmonic sound and noise saturation, and between rhythmic disorder and groove.

...SOMETHING LIKE ORPHEUS for sopran saxophone and electronic

...à fureur et mesure, for orchestra
First performance: Opera de Lausanne 2021
OCL Orchestre de Chambre de Lausanne
Baldur Bronniman, conductor

...à fureur et mesure

Dedicated to my father who passed away last week.

Au pied des spectres, dans la cendre

Christian Dubé

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