Roberto Fabbriciani, flute Cantus Ansambl Berislav Šipuš, conductor Live recording, Zagebr 16th December 2019 The Zagreb Concerto is divided into three movements. The idea behind the composition is to attribute to the solo flute an autonomous role that is not at the service of the orchestra and the listeners but that speaks its language revealing itself in its essence, an unknown language that finally has the permission to express. The first movement, Allegro moderato, is cyclical. The introduction is similar to the tail with few variants. Inside there are thick contrapuntal games through which the solo flute, starting from the accompanied cadence, expresses itself with its language. The phrasing appears as a spoken language, due to the rhythm and speed of the melodic parts. The second movement, Lento senza espressione, retraces the initial themes but with a very low metronomic speed in which sound bands fluctuate with a dreamlike character. The third movement, Rondò, is a precision mechanism in which the solo flute, as an uninvited guest, enters and begins to speak his personal language to the point where the mechanism breaks into a timbric and rhythmic agglomeration that leads to the final.

Roberto Fabbriciani, flute Cantus Ansambl Berislav Šipuš, conductor Live recording, Zagebr 16th December 2019 The Zagreb Concerto is divided into three movements. The idea behind the composition is to attribute to the solo flute an autonomous role that is not at the service of the orchestra and the listeners but that speaks its language revealing itself in its essence, an unknown language that finally has the permission to express. The first movement, Allegro moderato, is cyclical. The introduction is similar to the tail with few variants. Inside there are thick contrapuntal games through which the solo flute, starting from the accompanied cadence, expresses itself with its language. The phrasing appears as a spoken language, due to the rhythm and speed of the melodic parts. The second movement, Lento senza espressione, retraces the initial themes but with a very low metronomic speed in which sound bands fluctuate with a dreamlike character. The third movement, Rondò, is a precision mechanism in which the solo flute, as an uninvited guest, enters and begins to speak his personal language to the point where the mechanism breaks into a timbric and rhythmic agglomeration that leads to the final.

Roberto Fabbriciani, flute Cantus Ansambl Berislav Šipuš, conductor Live recording, Zagebr 16th December 2019 The Zagreb Concerto is divided into three movements. The idea behind the composition is to attribute to the solo flute an autonomous role that is not at the service of the orchestra and the listeners but that speaks its language revealing itself in its essence, an unknown language that finally has the permission to express. The first movement, Allegro moderato, is cyclical. The introduction is similar to the tail with few variants. Inside there are thick contrapuntal games through which the solo flute, starting from the accompanied cadence, expresses itself with its language. The phrasing appears as a spoken language, due to the rhythm and speed of the melodic parts. The second movement, Lento senza espressione, retraces the initial themes but with a very low metronomic speed in which sound bands fluctuate with a dreamlike character. The third movement, Rondò, is a precision mechanism in which the solo flute, as an uninvited guest, enters and begins to speak his personal language to the point where the mechanism breaks into a timbric and rhythmic agglomeration that leads to the final.

Il brano descrive l'atmosfera creata dalle prime luci che precedono l'alba. The piece describes the atmosphere of the first light when the dawn is breaking. Orchestra da Camera Fiorentina, cond. Piero Romano

This is the first of a project of solo instruments pieces called colors and inspired by the color of the sound of each instrument. Every piece is written in one position/chord/multiphonic and all that you can listen (chords, melodies, rythms) is created by partials of a multiphonic that have a F quarter tone as fundamental. Blu Cobalto is a commission of the flutist Roberto Fabbriciani that premiered the piece in 4th June 2011 giving to the work his magic coloristic and virtuose art of playng. During all the work he doesn't move his hand by the position and in a live performance you can watch a performer with stop hands on the flute. Blu Cobalto requires an "active" role of the player that has all the sounds in the multiphonic but must "search" and listen every note or chord in which wants to put the focus on. All partials are not tempered and create a natural tuning sound. At the end of the video a blue image of the cat Swrap that loves the vibrations of this music.

A different image of Venice and winds. The premiere recording in Venice Palazzo Cà Sagredo 22.09.2008. Audi Mozart Quintet I. Zahirovic,flauto T. Balla, oboe M. Pavlovic, clarinetto A. Cesari, corno S. Almanza, fagotto

Description: min. 00:00 - 03:04 Low Entropy min. 03:05 - 04:59 First Fluxus of Energy min. 05:00 - 05:35 Particles that, like children, Play and Enjoy min. 05:36 - 05:40 A Call to Order min. 05:41 - 06:59 Second Fluxus of High Energy min. 07:00 - 08:08 Fluctuations min. 08:09 - 09:27 Heat Transfer min. 09:28 - 10:17 Entanglement min. 10:18 - 11:21 Energy Transformation min. 11:22 - 12:20 High Entropy (Chaos of Particles) min. 12:21 - 12:41 Particles that Escape very fast like Birds from a Cage min. 12:42 - 13:01 Explosion min. 13:02 - 14:05 Reversion min. 14:06 - 15:26 Low Entropy The premiere recording, 21st april 2011 Illinois State University Orchestra, Maurizio Colasanti "Fluttuazioni Quantistiche" (Quantum Fluctuations) is a piece inspired by quantum's micro-world, basis of our physical world. I imagined some kind of a soundtrack, sounds intrinsic to the matter, which has laws different from the real world. In it's first part there is a rarefaction of time, this is an introduction where you can not see neither the time nor the speed. In reality everything is constantly in "4/4" and "100 to a quarter". There is also a different dimension of space given by notes that appear and disappear, like particles; these are played by orchestral instruments that come from far apart, together with large resonances produced by vibraphone and harp with unusual tunings. The vibraphone, during the whole piece, produces also very large clusters with wooden bands placed over the keys.Pursuing, small flows of energy comes and a great little episode: particles that, as children, play and have fun. After constant flows of energy arrive, produced by bands that sound starting from ppp till ff. These are orchestral sections that intersect each other.At the end of this episode are fluctuations themselves, particles floating in space musically rendered by triplets of the harp and "glissandos" in the muted strings. This element gives off very strong energy that puts in motion a heavy machinery of the most serious and strong instruments which after settles into a "mobile sound" (a tenuto and unstable sound due to the micro-tonality) that leads to a "tutti" of the orchestra through an episode of brass-percussion. Brasses play, each with a different rhythm to simulate chaos, hitting the mouthpiece with the palm of the hand. The ordered chaos of particles expresses a great uncontrollable force due to strings that play legato with pure wood and a whirling piece of woods like a bird cage gone wild which give off particles that ends with strong percussion hit, after which there is .. . silence for eight beats. Finally the piece becomes more rarefied to return to the entropy of the initial state and ends with a resonance of a high note from the vibraphone that is lost in space.

Fragment of the final section of "Bagliori nella notte" (Glow in the night) for Flute and Piano. Roberto Fabbriciani flute, Simone Ori piano. The piece, in this section, describes a solitary summer night with glow, the winds and mosquitoes. CD Fantasioso by Roberto Fabbriciani. Live recording