| 1946 |
Il mattino [The Morning] for pianoforte and voice (text by Fukuko, trad. by B. Balbi) |
| 1947 |
Imitazione [Imitation] for pianoforte and voice (text by G. Leopardi) |
| Intimità [Intimacy] for pianoforte and voice (text by O. Dini) |
| 1952 |
Barcarola funebre [Mournful Barcarole] for pianoforte |
| Preludio a una Novella senza titolo [Prelude to an Untitled Short Story] for pianoforte |
| 1953 |
Distacco I [Detachment I] for pianoforte and voice (text by R. Gnoli) |
| Distacco II for pianoforte and voice (text by R. Gnoli) |
| Oboe sommerso [Submerged Oboe] for voices and instruments (text by S. Quasimodo) |
| Sonata for brass, timpani, and pianoforte |
| Verrà la morte [Death Will Come] for pianoforte and voice (text by C. Pavese) |
| 1954 |
Musica per orchestra d’archi e pianoforte [Music for string orchestra and pianoforte] |
| Sonata for pianoforte |
| 1955 |
Cantata for chorus and orchestra (text by C. Pavese) |
| Sestetto for flute, oboe, bassoon, violin, viola, and violoncello |
| Variazioni su tema di Frescobaldi [Variations on a Theme by Frescobaldi] |
| 1956 |
12 variazioni [12 Variations] for oboe d’amore, violoncello, and pianoforte |
| Invenzione, Canone e Ricercare for pianoforte |
| Trio for clarinet, horn, and violoncello |
| 1957 |
Concerto for Orchestra |
| Quattro pezzi [Four Pieces] for guitar |
| 1957–1958 |
3 Studi [3 Studies] for flute, clarinet, and bassoon |
| 1958 |
Distanze [Distances] for violin, violoncello, and pianoforte |
| Musica per undici violini [Music for Eleven Violins] |
| 1966 |
Requiem per un destino [Requiem for a Destiny] for chorus and orchestra |
| 1969 |
Suoni per Dino [Sounds for Dino] for viola and two tape machines |
| Caput Coctu Show for eight instruments and a baritone (text by P. P. Pasolini) |
| Da molto lontano [From Far Far Away] for soprano and five instruments |
| 1970 |
Meditazione orale [Oral Meditation] (text by P. P. Pasolini) [reprises Requiem per un destino] |
| 1972 |
Proibito [Forbidden] for eight trumpets |
| 1974 |
Totem for five bassoons, two contrabassoons, and percussion |
| 1975–1988 |
Tre scioperi [Three Strikes] for a class of thirty-six children (trebles) and a teacher (bass drum) (texts by P. P. Pasolini) |
| 1978 |
Immobile [Immobile] for French horn and four clarinets |
| Tre pezzi brevi [Three Short Pieces; originally composed for Good News by Elio Petri (1979) but not used in the film] |
| 1979 |
Bambini del mondo [Children of the World] for eighteen treble voices’ choruses |
| Grande violino, piccolo bambino [Big Violin, Little Child] for treble voice, violin, celesta, and string orchestra |
| 1980 |
Gestazione [Gestation] for female voice and instruments, prerecorded electronic sounds, and ad libitum string orchestra |
| 1981 |
Totem secondo [Second Totem] for five bassoons and two contrabassoons |
| 1982 |
Due poesie notturne [Two Nocturnal Poems] for female voice, string quartet, and guitar (texts by E. Argiroffi) |
| 1984–1985 |
Second Concerto for flute, violoncello, and orchestra |
| 1984–1989 |
Quattro studi per il “piano-forte” [Four Studies for the “piano-forte”] |
| 1985 |
Frammenti di Eros [Fragments of Eros]; cantata for soprano, pianoforte, and orchestra (text by S. Miceli) |
| 1986 |
Rag in frantumi [Shattered Rag] for pianoforte |
|
Il rotondo silenzio della notte [The Round Silence of the Night] for female voice, flute, oboe, clarinet, pianoforte, and string quartet |
| 1988 |
Refrains, 3 omaggi per 6 [3 homages for 6] for pianoforte and instruments |
| Mordenti [Mordents] for harpsichord |
| Neumi [Neumes] for harpsichord |
| Cantata per l’Europa [Cantata for Europe] for a soprano, two reciting voices, mixed chorus, and orchestra |
| Echi [Echoes] for female (or male) chorus and ad libitum violoncello |
| Fluidi [Fluids] for ten instruments |
| Cadenza for flute and tape, from the Second Concerto |
| 1989 |
Epos [unretrieved ensemble] |
| Studio for double bass (Homage to Giovanni Bottesini) |
| Specchi [Mirrors] for five instruments |
| 1989–1990 |
Riflessi [Glares] for solo violoncello |
| 1990 |
Frammenti di giochi [Fragments of Games] for violoncello and harp |
| Quattro anamorfosi latine [Four Latin Anamorphoses] (text by S. Miceli) |
| 1990–1991 |
Third Concerto for amplified classical guitar, marimba, and string orchestra |
| 1991 |
Canção para Zelia na Bahia [Song for Zelia in Bahia] for two soprano voices and pianoforte (text by J. Amado) |
| UT for trumpet in C, strings, and percussion |
| Questo è un testo senza testo [This Is a Text without Text] for treble voices (text by S. Miceli) |
| Una via crucis. Introduzione a forma di croce [Introduction in the Shape of a Cross] for orchestra |
| Una via crucis. Stazione I “. . . Fate questo in memoria di me . . . ” [A Via Crucis. 1st Station “ . . . Do this in remembrance of me . . . ”] for double chorus and instruments (texts by S. Miceli) |
| Una via crucis. Stazione IX “. . . Là crocifissero lui e due malfattori” [9th Station “. . . There they crucified him and two thieves”] for reciting voice, tenor, baritone, and orchestra (texts by S. Miceli) |
| Una via crucis. Stazione XIII “. . . Lo avvolse in un candido lenzuolo” [13th Station “ . . . She covered him in a candid sheet”] for soprano, chorus, and instruments (texts by S. Miceli) |
| 1991–1993 |
Epitaffi sparsi [Scattered Epitaphs] for soprano, pianoforte, and instruments (text by S. Miceli) |
| 1992 |
Una via crucis. Secondo intermezzo [Second Interlude] for orchestra |
| Una via crucis. Stazione V “. . . Crucifige! . . . Crucifige! . . .” [5th Station “. . . Crucify him! . . . Crucify him! . . .”] for alto and orchestra (texts by S. Miceli) |
| 1992–1993 |
Esercizi for ten strings (six violins, two violas, and two violoncellos) |
| 1993 |
Wow! for female voice |
| Braevissimo I, II, III for double bass and strings |
| Vidi Aquam. Id est Benacum for soprano and a small orchestra |
| Elegia per Egisto [Elegy for Egisto] for solo violin |
| Fourth Concerto for organ, two trumpets, two trombones, and orchestra “hoc erat in votis” |
| Canone breve [Brief Canon] for three guitars |
| 1994 |
Il silenzio, il gioco, la memoria [The Silence, the Game, the Memory] for trebles chorus (texts by S. Miceli) |
| Monodie I for guitar and voice |
| 1995 |
Ave Regina Caelorum for a four-mixed-voice chorus and instruments |
| Blitz I, II, III for four saxophones |
| Blitz I, II, III for French horn, two trumpets, trombone, and tuba |
| Coprirlo di fiori e bandiere [Covering It with Flowers and Flags] for soprano, clarinet, violin, and violoncello (text by A. Gatto) |
| Corto ma breve [Short but Brief] |
| Omaggio [Homage] |
| Ricreazione . . . Sconcertante [Unsettling . . . Recreation] |
| Tanti auguri a te (Happy Birthday to You) |
| Due pezzi sacri [Two Sacred Pieces]; previously released as “Borromeo e l’innominato” in the original soundtrack of the TV series The Betrothed (1989) |
| 1995–1996 |
Lemma (by Andrea and Ennio Morricone) for two clarinets and two pianofortes |
| Ipotesi [Hypothesis] for clarinet and pianoforte |
| 1996 |
A L.P. 1928 for string quartet |
| Flash for soprano, alto, tenor, and bass (texts by E. Sanguineti) |
| Partenope. Music for the siren of Naples on a libretto by G. Barbieri and S. Cappelletto |
| Passaggio [Passage] |
| Passaggio secondo [Second Passage] for reciting voice and orchestra (texts by A. Ginsberg) |
| Scherzo for violin and pianoforte |
| 1997 |
Tre duetti [Three Duets] for violin, viola, and voice |
|
Il sogno di un uomo ridicolo [The Dream of a Ridiculous Man] for violin and viola |
|
Musica per una fine [Music for an End] for a four-mixed-voice chorus, orchestra, and a taped text by P. P. Pasolini read by himself |
|
Ombra di lontana presenza [Shadow of a Distant Presence] for viola, string orchestra, and tape |
|
Quattro anacoluti per A.V. [Four Anacoluthons for A.V.] for strings |
| 1998 |
Amen for six mixed choruses |
| Grido [Howl] for soprano, string orchestra, and ad libitum tape |
| Non devi dimenticare [You Must Not Forget] for reciting voice and orchestra |
| S.O.S. (Suonare O Suonare) [S.O.S. (Play or Play)] for horn, trumpet, and trombone |
| 1998–1999 |
Il pane spezzato [The Broken Bread] for twelve mixed voices, ad libitum instruments and strings on the liturgy text |
| 1999 |
Abenddämmerung for soprano (or mezzosoprano), violin, violoncello, and pianoforte (texts by H. Heine) |
| Grilli [Crickets] for four quartets (text by S. Benni) |
| Ode for soprano, male reciting voice, and orchestra (text by G. Bonaviri) |
| Per i bambini morti di mafia [For the Children Murdered by Mafia] for soprano, baritone, two reciting voices, and six instruments (text by L. Violante) |
| Pietre [Stones] for double chorus, percussion, solo violoncello |
| 2000 |
A Paola Bernardi for two harpsichords |
| Flash (2nd Version) for eight voices and string quartet (texts by S. Benni, S. Miceli, E. Sanguineti, and anonymous from the seventeenth century) |
| Quinto studio (Catalogo) [Fifth Studio (Catalogue) |
| 2000–2001 |
Tre studi per tre chitarre [Three Studies for Three Guitars] |
| 2001 |
Immobile n. 2 for mouth harmonica and twelve strings |
| Metamorfosi di Violetta [Violetta’s Metamorphosis] for string quintet |
| Se questo è un uomo [If This Is a Man] for soprano, reciting voice, and strings (texts by P. Levi) |
| Vivo for violin, viola, and violoncello |
| 2002 |
Due × due [Two × Two] for two harpsichords |
| Finale (Invenzione improvvisata) [Finale (Improvised Invention)] for two organs |
| Notturno e passacaglia [Nocturne and Passacagla] for ensemble |
| Notturno e passacaglia for clarinet, violin, and pianoforte |
| Voci dal silenzio [Voices from Silence] for reciting voice, mixed chorus recorded voices, and orchestra |
| 2003 |
2 TT × 4 for flute, clarinet in B♭, violin, and viola |
| Geometrie ricercate [Sophisticated Geometries] for ensemble |
| 2004 |
Cantata narrazione per Padre Pio (fuori da ogni genere) [Cantata Narration for Padre Pio (Outside of Any Genre)] |
| Ricercare patriottico [Patriotic Ricercare] for flauto (or piccolo or violin), violoncello, and pianoforte |
| Riverberi (per i 100 anni della nascità di Goffredo Petrassi) [Reverberations (for the Hundredth Year of Goffredo Petrassi’s Birth)] for flute, violoncello, and pianoforte |
| 2005 |
Come un’onda . . . [Like a Wave . . . ] for solo violoncello |
| Come un’onda . . . for two violoncellos |
| Come un’onda . . . for solo bass clarinet in B♭ |
| Frop for four-hand pianoforte |
| 2006 |
Sicilo e altri frammenti [Sicilo and Other Fragments] |
| 2008 |
Vuoto d’anima piena [Emptiness of a Full Soul] for orchestra and chorus |
| 2009 |
Monodia for violoncello |
| 2010 |
Jerusalem for baritone and orchestra |
| Ostinato ricercare per un’immagine [Obstinately Researching for an Image] |
| Roma (Pensando al “Ricercare cromatico” di Girolamo Frescobaldi) [Rome (Thinking of Girolamo Frescobaldi’s “Ricercare Cromatico”)] for soprano, male reciting voice, and ensemble (text by V. Morricone) |
| 2011 |
Bella quanno te fece mamma tua [dial. Beautiful Like Your Mother Made You] for soprano and pianoforte, based on a Roman folk song |
| Quarto studio bis [Fourth Studio b] for pedal pianoforte |
| Totem No. 3 (Segnali) [Signals] for bassoon and pianoforte |
| 2013 |
Missa Papae Francisci. Anno duecentesimo a Societate Restituta [Mass for Pope Francis in the Two Hundredth Year from the Societate Restituta] for double chorus and orchestra |
| I Vangeli. Una sacra rappresentazione [The Gospels. A Sacred Representation] for two reciting voices and prerecorded track on texts from the Gospels |
| 2016 |
Varianti per Ballista Antonio Canino Bruno [Variants for Ballista Antonio Canino Bruno] for two pianofortes and string orchestra |