Mario Giachino
Mario Giachino
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My music

My compositions are available to you on this page.
The tracks are organized into albums, which are, however, entirely virtual. Indeed, no other format for these tracks exists. The need not to make a long list has led me to organize them into albums but any other kind of organization is possible and I will leave it to your imagination.
On the right you can listen to the various tracks and you can access them from the various albums by clicking on the album covers.
To download the tracks in mp3 format, right click on the mp3 icon. Before using the tracks for not-private listening purposes, make sure you have read the Terms and Conditions page.
If you want to try to play my music you can download the sheet music in PDF format.
Let's start with my newest productions...

Sailing to Byzantium
Sailing to Byzantium
1. Enivrez-vous - C. Baudelaire
2. Texan - C. Bukowski
3. La llibertat - D. Cano
4. En busca de Carlota - V. Cervera Salinas
5. Standing female nude - C. A. Duffy
6. Je suis comme je suis - J. Prevert
7. Ogni matto - J. M. Serrat
8. Time does not bring relief - E. St. Vincent Millay
9. Amaro accordo - G. Ungaretti
10. Sailing to Byzantium - W. B. Yeats
Sailing to Byzantium
Writing a choir opera as Carmina Cantabrigiensia I discovered how much is interesting the interplay between nusic and words, so I decided to try to write something for a singing voice. And the lyrics? I thought about it a bit and I decided to look at the poems I love most choosing those that suit the music I write and ... that's it, Sailing to Byzantium is born. Baudelaire, Bukowski, Prévert, Millay, Ungaretti and Yeats but also more recent authors or lesser known (but no less valid), as Caño, Duffy, Salinas. One of the poems was already into music, it is a song of Joan Manuel Serrat, which I'm particularly fond of, and I only translated and adapted into Italian.
With this album so I face the songwriting and, at the same time, the poetry.
Audio versions are not available 'cause at the moment nobody's sung this songs but... if you dare, come, both the scores and the book (5.5MB) are available!

...and don't forget to let me know what do you think about it!

You can find the lyrics in the book (5.5MB) or clicking here.

Carmina Cantabrigiensia
Carmina Cantabrigiensia
1. Intro (The Cambridge Songs)
2. De Epiphania
3. De Luscinia.mp3
4. Carmen Christo Dictum
5. De Puero Niveo
6. Mendosa Cantilena
7. Cantilena in Heinricum III Regem Coronatum
8. De asino Alfradae
9. Diapente et Diatesseron
10. Versus ad Popponem
11. Invitatio Amicae
12. De Proterii Filia
13. Hipsipile Archemorum Plorat
14. Nenia de Mortuo Conrado II Imperatore
15. Sacerdos et lupus
16. Ad Mariam
17. Nisus Omnigeni
18. Gratulatio Reginae a Morbo Recreatae
19. De Iohanne Abbate
20. Resurrectio
21. Magister Puero
22. Veni Dilectissime
23. Eia Obsecra
ATTENZIONE: Le voci dei solisti e del coro non sono reali ma campionate e devono essere intese solo a titolo esemplificativo.
Carmina Cantabrigiensia
My second project: an opera for choir and small orchestra.
My wish was to try to music some good lyrics for a choir.
The Carmina Cantabrigiensia aka The Cambridge Songs, is a collection of 83 poems (or carmen) composed in Latin by several German-Rhenish authors between 968 and 1039, transcribed probably in South Tyrol and stored in part (Carmina from 1 to 49) in the Cambridge manuscript, of the first half of the XI century.
Them range across all genres and some parts have been subject to censorship by the ecclesiastical authorities. For example del carmen XLIX (Veni Dilectissime) remain few words, partially reconstructed in modern times.
It is believed that the Carmina Cantabrigiensia were set to music, but we've no trace of the original music. In this opera only the poems are medieval, certainly not the music, which is current and doesn't seek to get closer to the historical period in which the poems were written but only to their spirit, subject and content.
The staffing structure is simple: choir, composed of male and female voices and small chamber orchestra. Some songs are for a solo singer, one a cappella and one for solo instrument duetting with lead singer. Choices made in order to interpret, in a modern context, texts that even after a thousand years retain their original charm.
If someone decides to perform one or more of these songs, please send me the recordings, so I'll post them here: unfortunately, with the tools at my disposal, I can't simulate the choir voices with acceptable results.

In addition to the single scores, you can download the booklet (16 MB), with some explanation, lyrics and translations, or even the book (70 MB) with all the scores, the explanations, lyrics with translations and a copy of the original Cambridge's sheets.

More information about this opera thru the Carmina Cantabrigiensia pages of this website.

If you need all the scores, please contact me and I'll send you the Finale's files.
Don't forget to let me know what do you think about it!

Io sono Odisseo
Io sono Odisseo
1. La guerra e' finita
2. La promessa di Penelope
3. Naufragio a Scheria
4. Nausicaa
5. Io sono Odisseo
6. Polifemo
7. Eolo
8. I Lestrigoni
9. La dea Circe
10. Madre Mia
11. Le sirene
12. La ninfa Calipso
13. Telemaco e Teoclimeno
14. A Itaca (Io sono Odisseo)
15. Argo
16. Tiro con l'arco
17. La strage
18. Penelope e Odisseo
19. La profezia di Tiresia
Io sono Odisseo
A silent year, a year of work. I changed my approach with the music composition, I decided to leave writing songs as they pop up in my mind: now I want to face some project.
Here the first: Io sono Odisseo (I'm Odysseus).
My opera is based on one of the best and more accessible Italian translation of the Homer opera, the one of Maria Grazia Ciani by Marsilio.

The booklet is available here, with the sentences which I was inspired and some my note. (6 MB)
In addition to the single scores, also the book with all the scores is available (10 MB). If you need all the scores, please contact me and I'll send you the Finale's files.
The friend of mine Kim Planella, that is a Catalan accomplished theater author and director and fine musician and composer, seriously considered my work and he honored me with the drafting of a document with his comments on individual songs. I translated it (in Italian) and I'm proud to share it with you.

Please, also you, let me know what do you think about it.

1. Silly Jazz
2. Passeggiata a Vienna
3. Slovak Prayer
4. Some Snowflakes
5. Studio
6. Un Sabato di Chitarre
7. Giochiamo
8. You're our mistakes
9. Dal finestrino
10. Un Sabato di Chitarre (Acoustic)
The question was: and then? I worked on it, I gathered ideas and put order among them, hoping to create some POI, some Points Of Interest...
We can start with a silly song: Silly Jazz, with the intro written thinking (boastfully) to my friend Giorgio's guitar. Let's go on with some notes dropped on my pentagram after a week spent in Vienna.
The Viennese wine taverns atmosphere suggested to me a song about Vienna but in contrast to the Viennese stereotype: Passeggiata a Vienna; while that holiday, in the splendid cathedral of St. Martin in Bratislava, I was hypnotized by the monotonous sound the man who led the prayer was doing. I recorded it because this continuous and monotonous sound, in that ambience, suggested me other sounds that I mixed with in Slovak Prayer.
Some Sonowflakes and Studio, two songs for... meditation? Yes. Music for listening. Big-headed? May be but... you have been warned: who have to be enjoyed is me! :o)
The guitar, the classic guitar, has always been a challenge for me. Eventually I decided to face it. Without the technical suggestions of my friend Giorgio I would not have ever made, of course. Un sabato di Chitarre (Guitars' Saturday) is the result.
A theme I written when I was very young that I always considered too simple (see the score: it's the original version for choir and harpsichord). Finally I decided to re-harmonize it and Giochiamo is the outcome.
Eventually two songs, You're our mistakes and Dal finestrino written researching new and different sounds, to conclude this album, that I consider research.

1. Seven and Eight
2. Volo radente
3. Cammelli
4. Corale
5. La favola della sera
6. Relitti
7. Synthetic hymn
8. Danza zingara
9. Amen - Insistito molto
10. Danza d'agosto
11. High view
12. Notte di Natale
13. Variaz. su son. op. 49
My second album is a collection of what I consider to be more mature music. The make-up is a little more realistic and the music itself no longer is content with satisfying the composer's tastes (mine) but it tries to find common tastes. Basically, to write (also) for other people.
Obviously I did not abandon the idea of my search: in Seven and Eight I try to present the same theme with the difficult tempo of 7/8, changing then to 4/4. With Volo Radente, Cammelli and Relitti I continue my search for description in music, whereas with Corale and Amen - Insistito molto I try to face the theme of the choir, a set of voices. The sheet of the choir only arrangement of the Amen is available.
Dances, anthems and other tracks such as Danza zingara or La Favola della Sera represent the evolution of the musical quest and differ from previous compositions.
Variazioni su Sonatina op.49 is a different matter: this is a famous piece for piano written by Beethoven which I reinterpreted in a swing-jazz style. I hope Ludwig does not mind too much.

1. Gioco per due trombe
2. Allegro per tre clarini
3. Duetto facile per flauto e oboe
4. Festa di primavera (per banda)
5. Inverno
6. Sonatina per archi e tromba
7. Oniria
8. Nuova Europa
This is my classical music-inspired album. The comparison with music often considered as serious can only occur with respect: there is even too much material to make comparisons and the sensation is that there is very little to invent. I might appear arrogant but in my opinion this is not true. I consider this genre to be very interesting, complete and, though difficult, very stimulating. After all, I cannot do any real harm.
I started with this musical genre at a very young age: I wrote the first scores of Gioco per Due Trombe at the age of fifteen and I was eighteen when the manuscript was practically complete.
Other tracks, such as Allegro per Tre Clarini (which is indeed for three clarinets!) and Inverno are part of the music for small chamber music groups, with Inverno a return to descriptive music.
My (brief) period with the Boves Musical Band (near Cuneo) as a flautist led me to try to create a piece of band music and Festa di Primavera is the result.This album is rounded off with the piece that took the greatest effort in order to obtain an orchestration that took into acount, as far as possible, the needs, limits and opportunities that a real orchestra can offer: Nuova Europa is an orchestral piece that attempts, at the same time, to take advantage of both the fullness of the whole and the distinctiveness of small subsets.

1. Maree
2. Aspettando la primavera
3. Madrugada
4. Summer's sunshine
5. Giorno
6. Armonia in la minore
7. Bolero
8. Multimedia
9. Party
10. Il torrente
11. Genesi
12. Danza per gli spettri
13. Temporali
My first album is a collection of very experimental youth compositions, with tracks such as Maree, where I tried to create harmony more than melody, or Madrugada, in which I tackled the difficult task of arranging 4 vibraphones.
Tracks like Aspettando la Primavera or Summer's Sunshine, Giorno... are moments of creativity in themselves, without experimenting, just trying to find an original harmonisation.
Danza per gli Spettri is the result of a mathematical equation. Indeed, calculations more than true creativity were important in composing it. Multimedia is a track based on the development of sounds made by a modem when connecting to the Internet (this was the mid-nineties).
Finally, there are purely descriptive tracks: Il Torrente and Temporali, where instruments and musical expressions represent the idea of events and situations.


Io sono Odisseo
Carmina Cantabrigiensia
Sailing to Byzantium
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