Franco Pisciotta

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This transcription is based on the original manuscripts of Giovanni Francesco Giuliani. Unfortunately, the complete score has not survived in its entirety; it has been carefully reconstructed from the separate parts of the soloist and the orchestra.
As is often the case with historical materials  particularly those intended for archival rather than performance purposes  the parts contain several inaccuracies: missing rests, incorrect notes, omitted accidentals, and inconsistencies in articulation and dynamics among the various instruments.
The work carried out on this edition has aimed to preserve the authenticity of the composition and to respect the original text, through a rigorous process of scholarly restoration, ensuring that this precious musical heritage can be passed on to future generations.
The discovery of the previously unpublished manuscript containing the Concerto for Mandolin in F major, for two oboes, two horns, and strings, by Maestro Giovanni Francesco Giuliani, represents a significant contribution to the appreciation of the Florentine mandolin repertoire of the late Baroque period, bearing witness to its elegance, expressive richness, and stylistic vitality.

Concerto for Mandolin in F major

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The piece presented here is the third of three works for violin and piano titled 
"Morceaux de Salon", dedicated to G. Giovacchini, one of the most distinguished students of Ferdinando Giorgetti, the renowned violinist, composer, and professor at the Academy of Fine Arts in Florence, Italy. These chamber music compositions are characterized by their elegance and refinement, representing the style of early 19th-century Italian instrumental music. This critical edition is based on the first musical publications from 1849, correcting typographical errors, dynamic markings, and some bowing indications. I believe it is essential to provide future generations with an authentic and philologically accurate interpretation of Ermanno Picchi's musical legacy, preserving the historical integrity of a figure so significant in the 19th-century musical landscape.

Trois Morceaux de Salon No. 3

Violin Duet

This serenade was written by Johannes Brahms in Detmold, Germany, in 1857, and was publicated in Leipzig in 1860. 
At the beginning, it was composed for a small ensemble of nine instruments. Johannes Brahms himself directed the first execution in Hamburg in 1859. The serenade is divided in six movements, and takes about 40 minutes. 
This reduction for 10 instruments is based on the partiture for orchestra, and is composed of a string quintet and a wind quintet. The orchestration and the use of the wind instruments with the two clarinets respect the first version for nine instruments, a quintet without the Oboe. 
My intention was to create a right balance between strings and wind instruments. All dynamics, articulations,  the breaths and the ligatures were taken from the original manuscript and not from any other music editions.

Serenade No. 1 in D Major Op.11

Format

This piece opens a collection of ten compositions conceived for imagery and program music. They originated from a project initially intended for a documentary dedicated to Tuscany — a visual and musical journey through the landscapes, architecture, and symbolic places of a land rich in history and extraordinary beauty.
The aim was to entrust the music alone with the task of "commenting" on the image — to penetrate and extend it, never to explain it, but rather to welcome and reflect the observer’s gaze in sonic form, in a silent and profound dialogue where the notes do not describe, but evoke. Although the documentary never came to life, the music had already been written, orchestrated, and completed. Hence the decision to give these compositions an autonomous form and to make them public, rescuing them from the fate of the unfinished.
The first piece is dedicated to a captivating natural spectacle: the murmurations of starlings that, at sunset, trace hypnotic, ever-changing, and at times dizzying patterns in the sky above the Cascine Park in Florence. In those seemingly chaotic trajectories — yet never devoid of internal coherence — rhythm and suspension, momentum and stillness are intertwined. The music seeks to capture this very tension between chaos and harmony, between the vitality of flight and the deep calm emanating from the park’s centuries-old trees. It is a tribute to the poetry of the ephemeral and to the evocative power of nature, caught in one of its most mysterious and enchanting moments.

TOSCANA  1 Nuvole di Storni sopra le Cascine

Full Orchestra Score & Parts

The manuscript, discovered in the music collection of the Biblioteca Palatina in Parma (Italy), showcases the stylistic and instrumental features typical of the late Baroque period. This concerto, likely composed by Giuliani on commissioneither as a didactic tool for his students or as chamber entertainmentdisplays stylistic and technical choices well suited to such contexts. Compared to some of his more refined works, this composition stands out for its formal simplicity and its less elaborate writing for the mandolin, while still preserving the hallmark characteristics of the concerto grosso tradition of the time.
The complete score has not been recovered, but has been reconstructed from the surviving parts of the soloists and the orchestra. The editorial work aimed to preserve the authenticity of the piece and remain as faithful as possible to the original material, while offering a meticulous restoration intended to provide future generations with a reliable and accessible version of this repertoire.

Concerto in A major for two Mandolins

The Concerto in E-flat Major for Two Trumpets in B-flat by Ermanno Picchi, presented here in a critical edition, is a significant example of instrumental writing for trumpet from the first half of the 19th century. The work combines technical virtuosity with expressive depth, highlighting its artistic quality. The rediscovery of this score offers the opportunity to give Picchi the recognition he deserves, shedding light on his valuable contribution. The musical heritage he left behind merits full appreciation, and this renewed interest in his creative genius solidifies his place in the musical history of the 19th century.

Concerto for Two Trumpets Bb and piano

Trio

I composed this piece of music for the birth of my first granddaughter
  Lea in May 2022. It is written for a string chamber orchestra.

Chamber Orchestra Score & Parts

Parts

The reduction for 12 Cellos of An American in Paris was born by a collaboration with the class of chamber music at the University of Music Luigi Cherubini in Florence. Besides having a precise didactic purpose, the reduction has the ambition to bring symphonic music in a concert hall made up by only violoncellists. The Symphonic Poem of  Gershwin has been reduced, for technical instrumental reasons, not entirely but only in some of its most significant parts. The instrumental breakdown follows a two-tier scheme, in order to have better dynamics and sound balance between the parts.

An American in Paris

Chamber Orchestra Part

The reduction for chamber orchestra of  Gustav Mahler’s first symphony was born with the idea to perform an important symphony like the First, just with a smaller group of instruments. I studied for a long time, undertaking a historical research among the last performances conducted by Mahler where he made significant changes which have never been taken up in any new critic edition. Secondly, at a later time,  I reduced these in an edition for chamber orchestra,  a widespread practice in Vienna around the beginning of last century, adding a piano and a harmonium.

Symphony No. 1 in D Major

Voice

Alfredo Catalani (1854-1893) started to compose the Opera La Wally in  1889 and finished it two years later. The first performance was presented in  the Operahouse Teatro alla Scala di Milano on January 20, 1892. The same  year in autumn, La Wally was performed in the Teatro del Giglio in Lucca  (in Tuscany, Italy), the birthplace of the composer.         The opera, considered the masterpiece of Catalani, was inspired by the  novel Die Geier-Wally by Wilhelmine von Hillern. The aria Ebben, ne andr  lontana in La Wally, Catalani took from the Chanson Groenlandaise, which  he had composed in 1878 inspired by verses written by Jules Verne. This aria  is very well present in the memory ofa  the public, thanks also to the movie Diva (1981) by Jean-Jacques  Beinex.

La Wally

Soprano Vocal Score

Béla Bartók  (1881/1945)  composed his Third Concert for piano and orchestra during the summer of 1945. At that time he was already severely ill and could not complete the score. The last seventeen measures were rebuilt and orchastrated by his friend and scolar Tibor Serly. This reduction and arrangement for eight saxophones developed from a collaboration with the class of Maestro Roberto Frati. He holds the teaching post for saxophone at the University of Music "Luigi Cherubini" in Florence (Italy), and his exquisite class with his scolars has inspired this transcription. I only worked on the third movement of the concert, reworking the main themes, but at the same time arranging it in a way that it fits well for a chamber ensemble of eight saxophones plus timpani.

Allegro vivace from concerto No 3 for piano

Saxophone Octet

This composition stands as a significant testament to the chamber music output of Michele Bolaffi and, in particular, to his contribution to the mandolin repertoirean instrument that, between the late 18th and early 19th centuries, still enjoyed widespread popularity in cultured circles, especially within the Florentine aristocracy.
Michele Bolaffi's Suonata Prima was first announced in the Gazzetta Toscana on July 26, 1794. It stands out as a rare and precious gem of the late Baroque musical landscape in Tuscanynot only for the refinement of its musical language, but above all for the central role given to the mandolin, here elevated to the status of protagonist in an aristocratic and cultivated setting. With this composition, Bolaffi clearly emerges as a prominent figure in the chamber music of his time, embodying the grace and versatility that distinguish the musicians of the vibrant Jewish and Tuscan cultural scene.

Suonata prima Per Mandolino e Cembalo

Solo with Piano

The piece presented here is the second of three works for violin and piano titled
"Morceaux de Salon", dedicated to G. Giovacchini, one of the most distinguished
students of Ferdinando Giorgetti, the renowned violinist, composer, and professor at
the Academy of Fine Arts in Florence, Italy. These chamber music compositions are
characterized by their elegance and refinement, representing the style of early 19thcentury
Italian instrumental music. This critical edition is based on the first musical
publications from 1849, correcting typographical errors, dynamic markings, and
some bowing indications. I believe it is essential to provide future generations with
an authentic and philologically accurate interpretation of Ermanno Picchi's musical
legacy, preserving the historical integrity of a figure so significant in the 19thcentury
musical landscape.

Trois Morceaux de Salon No. 2

The piece presented here is the first of three works for violin and piano titled "Morceaux de Salon", dedicated to G. Giovacchini, one of the most distinguished students of Ferdinando Giorgetti, the renowned violinist, composer, and professor at the Academy of Fine Arts in Florence, Italy. These chamber music compositions are characterized by their elegance and refinement, representing the style of early 19th-century Italian instrumental music.
This critical edition is based on the first musical publications from 1849, correcting typographical errors, dynamic markings, and some bowing indications. I believe it is essential to provide future generations with an authentic and philologically accurate interpretation of Ermanno Picchi's musical legacy, preserving the historical integrity of a figure so significant in the 19th-century musical landscape.

Trois Morceaux de Salon No. 1

"Nun komm, der Heiden Heiland" ( English text: "Savior of the nations, come") is a Lutheran chorale of 1524 with the text by Martin Luther, based on  "Veni redemptor gentium"  by Sant'Ambrose of Milan, and a melody, Zahn in 1174, based on its plainchant. It was printed in the Erfurt Enchiridion of 1524.
For centuries, the chorale was the prominent hymn for the first Sunday of Advent. It was used widely in organ settings by Protestant Baroque composers, in particular Johann Sebastian Bach (1685-1750), who made several transcripions, most prominent the one for organ. This version was transcribed for piano by Ferruccio Busoni (1866-1924) who was an Italian componist and piano player. My transcription for string instruments is based on this last version.

Nun komm, der Heiden Heiland

String Orchestra Score & Parts

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