Chronological catalogue of works — Click on titles for further information
(also published on Zenodo – for access/citation click here)
PREFACE / LEGEND
Scope & ordering
This catalogue presents the works of Alexandre Casaccia in reverse chronological order by completion.
Completion means the composer’s explicit recognition of a final authorial text. Conception, workshops, premieres, publication/deposit dates, or repository versioning do not determine numbering or sequence. Short lags between completion and dissemination are expected and do not affect ordering.
Epistemic anchor: 24 March 2025 (thesis presentation/ graduation, Conservatorio “L. Marenzio”, Brescia).
Entry conventions
Op. = original compositions · O. = orchestrations/arrangements · E. = electroacoustic
Lettered variants (a, b, c…) denote alternative instrumentation that do not alter textual identity. Apparent numbering gaps do not imply lost works; none are presently known.
Conceptual framework
We adopt distinctions consonant with the Work–Expression–Manifestation–Item model:
– Version (v.) — Expression level. Substantial recomposition (form, duration, instrumentation, or function) yielding a distinct realization; later versions supersede earlier ones.
– Textual state (s.) — Expression level. Revisions that preserve perceptible identity (e.g. harmony/voice-leading adjustments, articulation, dynamics, notational clarifications); later states supersede earlier ones.
– Errata / authorial corrigenda — Manifestation level. Non-substantive repairs that restore the intended reading of an already-completed text (e.g. missing accidentals, obvious slips, parts extraction/engraving). These never constitute a new v. or s., even if repository files are re-issued.
Digital witnesses & repository deposits
A deposit or upload—initial or updated—does not by itself create a new v. or s. Repository versioning (IMSLP re-uploads, Zenodo version DOIs) is treated as dissemination mechanics. Only deposits that explicitly attest a new v. or s. (as defined above) are registered as such in this catalogue.
Evidence & provenance for dates
Dating aims at honesty rather than false precision. Evidence levels:
A — dated digital autograph or controlled deposit explicitly stating final authorial text; B — paratext consistent with completion (title page/colophon, Patamu timestamp); C — correspondence or rehearsal/performance records; D — composer testimony (dated statement).
Dates appear as DD Mon YYYY (e.g. 05 Nov 2025)
Textual genealogy
When earlier independent items are absorbed into a newly conceived cycle/composite, that act constitutes a new work; the absorbed items cease to exist as autonomous entries but remain citable in the textual genealogy of the new work. Genetic links (loans, reorderings, retouches) are reported concisely.
Citation & DOI policy
– Publication line cites the publication event (imprint + date) and a stable DOI that resolves to the latest files of that edition (on Zenodo, the record’s concept DOI).
– When analysis requires a fixed snapshot, a version note (e.g., “Version: v2, Oct 2025”) and the version DOI may be supplied in notes/appendix.
– Institutional or archival reproductions of pre-final states (e.g., thesis/archival copies) are not listed as publications of the final text; they may be mentioned under textual history if materially relevant.
Sources and evidential basis
– Primary — digital autographs under the composer’s control (exported score/parts or repository deposit) that explicitly recognize the final authorial text; Patamu timestamps may be used for dating earlier autographs.
– Secondary — authorized first editions that reproduce a recognized final authorial text.
Licensing note
Licensing is indicated per work (© YEAR Alexandre Casaccia (SACEM); All rights reserved or Released under CC BY-SA 4.0 as applicable). Licensing status does not affect v./s. Designations.
Catalogue research and editorial coordination: Lili Ferrari
Op.8 – HIGH STRANGENESS (2026) – ca. 19′30″
Instrumentation: WOODWIND & PIANO QUARTET — FLUTE, CLARINET (in B♭), BASSOON, PIANO
License: © 2026 Alexandre Casaccia (SACEM). All rights reserved.
Op.7 – LARIO (2026) – ca. 15′
Instrumentation: SYMPHONY ORCHESTRA
License: © 2026 Alexandre Casaccia (SACEM). All rights reserved.
Op.6 – AFTERLIGHT, PIANO SONATA No. 1 (2026) – ca. 9′
Instrumentation: SOLO PIANO
License: © 2026 Alexandre Casaccia. Released under CC BY-SA 4.0.
Op.5 – LABYRINTH, PIANO TRIPTYCH (2026) – 12′
Instrumentation: SOLO PIANO
License: © 2026 Alexandre Casaccia. Released under CC BY-SA 4.0.
Op.4 – ASPIRATION TO ENFOLD ALL, PRELUDES (2026) – ca. 30′
Instrumentation: SOLO PIANO
License: © 2026 Alexandre Casaccia. Released under CC BY-SA 4.0.
Op.3 – ARARAT (2025) – ca. 11′
Instrumentation: WOODWIND QUINTET — 1 FLUTE, 1 OBOE, 1 CLARINET (in B♭), 1 HORN (in F), 1 BASSOON
License: © 2025 Alexandre Casaccia. Released under CC BY-SA 4.0.
Op.2 – SHADES OF LIGHT, THEME-LESS VARIATIONS (2025) – ca. 6′30″
Instrumentation: BRASS SEXTET — Op.2/a: 1 PICCOLO TRUMPET (in B♭), 3 TRUMPETS (in B♭), 1 TENOR TROMBONE, 1 BASS TROMBONE | Op.2/b: 1 PICCOLO TRUMPET (in B♭), 2 TRUMPETS (in B♭), 1 HORN (in F), 1 TENOR TROMBONE, 1 BASS TUBA
License: © 2025 Alexandre Casaccia. Released under CC BY-SA 4.0.
Op.1 – ANATOMY OF LIGHT (2025) – ca. 4′10″
Instrumentation: WOODWIND & PIANO DUET — Op. 1/a: ALTO SAXOPHONE (in E♭), PIANO | Op. 1/b: CLARINET (in B♭), PIANO
License: © 2025 Alexandre Casaccia. Released under CC BY-SA 4.0.
E.3 – WASTELAND (2025) – 3′50″
Medium: fixed media (acousmatic); stereo (2 channels)
License: © 2025 Alexandre Casaccia. Released under CC BY-SA 4.0.
E.2 – TRASH-CAN STUDY (2025) – 1′28″
Medium: fixed media (acousmatic); stereo (2 channels)
License: © 2025 Alexandre Casaccia. Released under CC BY-SA 4.0.
O.3 – DENZA/ROSSINI, NEAPOLITAN FANTASY (2025) – ca. 7′
Instrumentation: SYMPHONY ORCHESTRA
License: © 2025 Alexandre Casaccia. Released under CC BY-SA 4.0.
O.2 – DEBUSSY, LA CATHÉDRALE ENGLOUTIE (2024) – ca. 5′
Instrumentation: SYMPHONY ORCHESTRA
License: © 2025 Alexandre Casaccia. Released under CC BY-SA 4.0.
O.1 – PROKOFIEV, PIANO SONATA No. 3 (2024) – ca. 8′
Instrumentation: SYMPHONY ORCHESTRA
License: © 2025 Alexandre Casaccia. Released under CC BY-SA 4.0.
E.1 – SOUNDS OF WATER (2024) – 5′05″
Medium: fixed media (acousmatic); stereo (2 channels)
License: © 2025 Alexandre Casaccia. Released under CC BY-SA 4.0.
