L’età d’oro di Milano XV sec. – The Golden Age of Milan XV cent.

May 21st – June 28th
Palazzo Reale – Milano

Opera urbana per musica e immagini

Comune di MilanoPalazzo Reale con il contributo di SNAM
nell’ambito ExpoinCittà media partner Interni – produzione AGON, 2015

da un’idea di CASTAGNARAVELLIMassimo Marchi

regia video Paolo Castagna

ideazione musicale e sound design
Roberto Andreoni
Pietro Pirelli
Antonello Raggi
Giorgio Sancristoforo


voce Maria Elena Romanazzi

strumenti a fiato Mario Arcari

ghironda Nicola Cicerale

regia del suono Massimo Marchi

realizzazione video The Fake Factory


responsabile di produzione Manuela Bottega

ufficio stampa e comunicazione Andrea AmatoCasi Umani

traduzioni Elyse Resnick

si ringrazia Alessandra Chiarello per i dati forniti sulla Ca’ Granda




Hommage à Le Corbu

In this work music is used as virtual architecture or “sound-arch”.

“Transparent” walls of musical timbres are created and projected into space with the aid of six loudspeakers positioned using the Modulor rule. The Modulor is applied to every musical parameter as a perfect serial composition. The Modulor rules both the microcosm (the timbre) and the macrocosm (the form). Everything, from durations to intervals and timbres is written with the original RED and BLUE series (113 cm at the solar plexus) and contains the golden ratio all over the piece.


I’m glad to announce the debut of the REIHE LAPTOP ENSEMBLE. After four months of preparation we are ready to book concerts! Our first piece is called Stunde Null and it was premiered on May 31st @ AGON Contemporary Music Centre. We also performed Radio Music by John Cage.

SAE Institute e AGON present:
Reihe Laptop Ensemble: Stunde Null
Students of Sound Design For Performing Arts of SAE Institute Italiy.
Giovanni Calvani
Alessandro Gatto
Leonardo Giuffrida
Lorenzo Mocellin
Marco Neridetti
Davide Paccanelli
Luca Pagan
Pietro Scialanga
Hector Fabio Sergio
Music and direction: Giorgio Sancristoforo
In collaboration with Divertimento Ensemble
M° Luca Avanzi : Oboe e flauto tenore diritto
M° Lorenzo D’Erasmo: Percussioni
M° Lorenzo Gorli: Violino e viola

M° Maurizio Longoni: Clarinetto e clarinetto basso

M° Pietro Pirelli: Pianoforte Preparato


Special Thanks
M° Massimo Marchi, M° Sandro Gorli, Giorgio Pona, Emiliano Alborghetti, Livio Festa, Dalila Sena, Daniele Raina e tutto lo staff SAE.

Little Ali – Hommage to Forough Farrokhzad

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Persian is a beautiful and musical sounding language
It is primarily spoken in Iran (natively known as فارسی Farsi [fɒːɾˈsiː] or پارسی Parsi), Afghanistan (officially known as “Dari” since 1958 for political reasons), Tajikistan (officially known as “Tajik” since the Soviet era) and other countries which historically came under Persian influence. The Persian language is classified as a continuation of Middle Persian, the official religious and literary language of Sassanid Persia, itself a continuation of Old Persian, the language of the Persian Empire in the Achaemenid era. Persian is a pluricentric language and its grammar is similar to that of many contemporary European languages.

This is an hommage to one of the most famous poet of Iran, with the words of her child-poem “The little Ali”.

Voice and Setar: Ārash Āzādi
Electronics: Giorgio Sancristoforo

English Text Translation



A multi-screen installation exploring and challenging the ambiguity of realism in the digital realm.

Natural landscapes from the wilderness of western Australia slowly deconstruct. By losing their “photographic skin”, the illusion behind their realistic appearance is revealed.
Commissioned to mark the first anniversary of ‘Lovebytes at Millennium Galleries’ – a permanent plasma screen gallery curated by Lovebytes with the Sheffield Galleries Trust (2006)
Direction/Design: Quayola, Chiara Horn
Sound: Giorgio Sancristoforo
Coding: W. Kosma


Vis-à-Vis performance @ Maker Faire Rome





What happens in our mind when it comes to human relations?
What happens inside us, what do we feel?


Read a great review on WIRED Uk here:

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“The music does in fact sound like someone experiencing severe mood swings. It’s a kind of experimental jazz, with trumpets bursting in short, sharp bursts followed swiftly by a dull boom of a trombone then the tinkering of a snaredrum. All this Sancristoforo is getting off of one reading while he sits opposite the Faire’s presenter; he is eyeballing him till the discomfort in his subject becomes clear for all in the auditorium to see. “I’m looking at you and we will hear what emotions come to me from you,” says Sancristoforo, just in case his subject was unaware of just how awkward the situation was about to get.”

Liat Clark / WIRED – Uk
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Production: AGON 2013
Music and programming: Giorgio Sancristoforo
Sound direction: Massimo Marchi


A video installation

Selene (Greek Σελήνη [selɛ̌ːnɛː] ‘moon’;)
Fonia (Greek: φωνή, phōnḗ, “voice, sound”)

I always had a passion for astronomy.
Some months ago I’ve got a 200mm telescope and a  webcam to capture videos of the Moon surface.
My exploration turned into a video installation premiered at the National Museum of Science and Technology of Milan on October 29th 2011 for the annual audiovisiva festival.


Concept, images & software: Giorgio Sancristoforo
Production:  AGON 2011/2012

Omaggio a Franco Evangelisti

Incontri di fasce sonore is one of Franco Evangelisti masterpieces.
Recorded in 1957 at WDR, Cologne, it is one of the classic scores of the integral serial music era.

This video was a preliminary study to investigate the possibilities of playing 1950s serial music with the Buchla synthesizer and Max/MSP.

I’ve programmed 315 mixtures of 7 sinusoidal tones in Max/MSP, following the score’s instructions,
then I’ve played them freely in the Buchla, creating a variation piece.

• Sound generation: MAX/MSP

• Music interface, amplification, spatialization, ring modulation, frequency shifting: Buchla 200e

• Reverb: Jomox T-Resonator

• Reverse sounds: EHX2880

realtime recording live to tape




That Stockhausen Sound

A simple MaxMSP patch to re-create the sound of the original recording of the legendary STUDIE II


This could be filed under “contemporary musicians that get crazy at sound design or sound designers that get crazy at contemporary music, thread”…

This year, Santas brought me the wonderful Studie II score, so after a while I’ve decided to make something about it..

As you know at WDR at the time of STUDIE II, there was only one sine oscillator. In order to create the Tone-mixtures for the work, Stockhausen had used an interesting method.

He had recorded every single sine frequency on tape, then he had cut every tape in 4cm long cuts.
To build the mixture he sequenced 5 of these pieces of tape (lowest frequencies played first) in a tape loop, and played back those loops into a reverb chamber with RT60= 10sec

While playing back, he had recorded the reverb chamber sound, and then he had cut the first part of the resulted sound so to obtain the reverb tails only.

Lastly he had used those reverb tails for the work, shaping the amplitude envelopes by hand.
When a crescendo was needed, he first had reversed the tape, then he shaped the amplitude.

This simple Max Patch can help students to build the tone mixtures (that then must be arranged in audio editors like Reaper, Logic, Protools or Cubase and the like).
It’s an interesting learning tool for it is faithful to Stockhausen’s technical approach at the problem.

audio example can be listened here

max patch for max6 can be downloaded free here

You will hear that the obtained sound is much more close to the original recording compared to the classic Stockhausen patch that comes with Max. I hope students and teachers will find this interesting.

Sound Artist