EMANUEL M. FRรES
HIRE: https://linktr.ee/emanuelart
Oeuvre & Catalog Overview
Emanuel Magalhรฃes Frรณes (born May 5, 1986, in Florianรณpolis, Brazil) represents a unique modern archetype: the philosopher-composer whose creative output is heavily impacted by the universalist modernism of his friend Rodrigo de Haro (6 May 1939, Paris – 1 July 2021, Florianopolis) and a very early recognition as talented poet by the literary circle of Florianopolis, which gave him the gift to full access to main cinema museum of the city. Here Frรณes discovered Godard, Fritz Lang and many others that impacted his canonic sense for film scoring. On these early influences Frรณes integrated today rigorous historical music theory, sacred liturgical traditions, and contemporary virtual media production into an unified vision.
Frรณesโs roots as a free thinker and multi-layered independent artist is highly grounded on a lineage of prestigious and interdisciplinary academic study. He earned a Bachelor of Arts in Music Theory from the Mozarteum University Salzburg in 2019, where his individual theses on structural analysis and voice-leading achieved the highest distinctions from the German Society for Music Theory (Deutsche Gesellschaft fรผr Musiktheorie) under the supervision of Dr. Sigrun Heinzelmann. His primary instruction at the Mozarteum included intense coursework in classical piano with Maria Bernadete Castelan Pรณvoas, Adriana Jarvis, Nadja Rubanenko and Jacques Rouvier, composition with Harold Auras, Alexander Mรผllenbach, historical harpsichord and chamber improvisation with Florian Birsak, among many other students of Nikolaus Harnoncourt. Additional studies in advanced orchestration direct with Ertuฤrul Sevsay in Vienna, author of seminal treatises on classical and avant-garde orchestration techniques, expanded his criteria in matters of pedagogy for music composers and inspired the work in an ongoing theory of orchestration (Logic of Orchestration). Training in the pedagogy of Diether de la Motte and in experimental acoustic arts with Klaus Feรmannโa notable collaborator of Karlheinz Stockhausenโdeeply determined his hermeneutic-phenomenological analytical approach and influenced his structural and spatial approach to sound organization.
Parallel to his conservatory training, Frรณes completed a Bachelorโs degree in Philosophy at the Federal University of Santa Catarina (UFSC) in Brazil and pursued graduate research in Philosophy (specializing in Metaphysics, Logic, and Philosophical Anthropology) and Musicology at the Paris-Lodron Universitรคt Salzburg. His published philosophical writings, such asย Angรบstia do Conceito (Kierkegaard e Vigilius Haufniensis), published by the Faculty of Letters at the University of Coimbra and the Complutense University of Madrid, investigate the existential structures of anxiety and temporal transit. These publications directly inform his musical aesthetics. His compositions serve as deliberate musicological inquiries into phenomenological perception, the metaphysics of meaning, and the boundaries of musical appreciation. This rich theoretical background transforms his overall output into a unified scholastic portfolio where original musical works and advanced theoretical lectures are published as parallel, mutually reinforcing intellectual contributions.
Technical Paradigms and Performance Practice
Frรณesโs compositional syntax is defined by what he characterizes as “neo-classical eclecticism and symbolism,” a method that treats the historical vocabulary of Western music as an active, expressive language rather than a static historical artifact. His technical execution relies on three central musicological and practical pillars:
Linear Contrapuntal Rigor versus Block-Chord Minimalism
In direct opposition to the repetitive, block-chord stasis that dominates modern commercial film and media scoringโa style Frรณes critically analyzes as a form of cultural simplification โhis writing is fundamentally linear. Even when working in virtual MIDI environments, his tracks are built on strict voice-leading principles derived from the Stilo Antico, Renaissance modal polyphony, and late-Romantic chromaticism. This is particularly evident in his use of systematic dissonances, tritone relationships, and motivic saturation, creating a dense, highly expressive psychological tension that mirrors the techniques of Igor Stravinsky, Dmitri Shostakovich, and Alexander Scriabin. He applies these techniques to manage information density, voice-crossing, and textural clarity in complex digital audio workstation (DAW) environments.
Sacred Improvisation and Liturgical Space
Having trained in choral conducting under Janos Czifra (Cathedral Kapellmeister of Salzburg) and completed specialized ecclesiastical organ qualifications , Frรณes possesses extensive experience as a public liturgic improviser and cantor. Over more than a decade of regular service in the city center of Salzburg (including the historic Franciscan Church and the Sacellum) and historic churches of Vienna, he has preserved the European tradition of spontaneous keyboard composition. His organ works demonstrate a profound spatial awareness, utilizing the natural acoustics of historic sacred spacesโsuch as Viennaโs St. Peterโs Church, the Capuchin Monastery, and Salzburgโs Kollegienkircheโas an active acoustic instrument.
Hybrid Sound Synthesis and Concrete Collage
Frรณes bridges the gap between acoustic authenticity and electronic synthesis. Influenced by the avant-garde experiments of Stockhausen via Klaus Feรmann , his electroacoustic poems integrate live instrumental counterpoint, digital modular synthesis, and concrete sound design. A key example is his use of domestic sound sources, such as a running kitchen freezer in Sonambulus (Poem X), to symbolize “frozen memories” and traumatic stasis. Through this method, everyday environmental noise is elevated to an ontological symbol within a strict, two-octave contrapuntal framework.
This multidimensional practice is further supported by his active commercial engagements. Frรณes has curated an extensive archive of over 582 specialized narrative audio toolkits for tabletop RPGs and independent game developers, maintained a top-rated freelance status on Upwork since 2022, and designed advanced pedagogical arrangements for the best-selling music education platform Yousician.
Curation Methodology for the Digital Catalogue
To establish a highly precise, academically rigorous catalog of Emanuel Magalhรฃes Frรณes’s musical works, his extensive digital portfolio has been systematically filtered. This process isolated his genuine musical compositions, artistic arrangements, rescores, and live concert improvisations from his instructional, tutorial, conversational, and philosophical lectures (such as his Kompositorium series or chess-related cognitive studies).
Because the raw metadata of his primary digital catalogue lists the creation dates of these publications as “NA” (Not Available) , this report conducts a thorough chronological reconstruction. By analyzing inline contextual indicators, composition notes, event programs, and performance locations across Salzburg and Vienna, this curation assigns precise or highly probable composition dates and stylistic classifications to each entry.
The resulting catalog is organized into five specialized tables matching his distinct creative vectors:
- Symphonic Landscapes & Cinematic Tableauxย (orchestral works, tone poems, and long-form TTRPG soundtracks).
- Sacred Organ Compositions & Liturgical Concert Improvisationsย (stile anticoย works, live cathedral improvisations, and motets).
- Keyboard Preludes, Sonatas, and Chamber Worksย (solo piano, lute, flutes, and chamber ensembles).
- Cinematic Rescores, Animations, and Game Loopsย (multimedia rescores, loopable interactive game themes, and film-noir sound design).
- Electroacoustic Poems & Symbolic Fantasiesย (experimental synthesizers, concrete music, and philosophical-existential tone poems).
Categorized Catalog of Musical Works
Symphonic Landscapes and Cinematic Tableaux
Frรณesโs symphonic works are distinguished by their structural scale and narrative programmatic content, using the orchestra as a vast canvas for mythological and literary themes. In these works, the orchestration avoids standard homophonic string doubling in favor of individual woodwind and brass lines, maintaining voice independence even during dense tutti climaxes. Key pieces in this category includeย Call of Moonlightย (2026), a large-scale, 20-minute symphonic landscape in three movements that functions as a structural narrative overture, andย Miracle of the Midnight Sunย (originally composed in 2023 and remastered in 2026), which was written to commemorate the Marian apparitions of Fรกtima. These works are outlined in Table 1 below:
Table 1: Symphonic, Orchestral, and Large Ensemble Works.
| Work Title | Composition / Publication Year | Musicological Style and Structural Genre | Digital Source Link |
|---|---|---|---|
| MIRACLE OF THE MIDNIGHT SUN, orchestral tableau (remaster 2026) | 2023 (Remastered 2026) | Late-Romantic orchestral tone poem; composed for the 13th of May, Fรกtima. | (https://youtu.be/OhQuHwGQTyo) |
| CALL OF MOONLIGHT ๏ฝ A Symphonic Landscape (Old School โงธ Neoclassic) | 2026 | Extended common practice symphonic landscape; 20-minute TTRPG overture in three movements (Passacaglia, Interlude, Tombeau). | (https://youtu.be/iNr80iDD_wM) |
| MISCELANIA PHANTASTICA๏ผ Cinematic Orchestral Fantasy for Video and & TTRPG Gameplay – FULL ALBUM | ca. 2021โ2024 | Comprehensive fantasy suite bridging neo-modal and Late-Romantic styles for immersive gameplay. | (https://youtu.be/tZWZ_31gjXo) |
| DIALOG WITH SATURN, The God of Time (orchestral recitative) #originalcomposition | ca. 2021โ2024 | Expressionist orchestral recitative; utilizing complex, non-functional modulations. | (https://youtu.be/deWoTMWCqag) |
| SLAVES #originalcomposition | ca. 2021โ2024 | Dark symphonic programmatic work exploring rhythmic oppression and minor-key textures. | (https://youtu.be/louutDKue5Y) |
| god, why did You leave me here๏ผ #originalcomposition | ca. 2021โ2024 | Programmatic orchestral meditation on the Passion of Christ and Ingmar Bergman’s The Seventh Seal. | (https://youtu.be/pl4X2ch_Gk4) |
| ECCE HOMO OUVERTURE , for orchestra #pfingsten | ca. 2021โ2024 | Grand neo-classical orchestral overture composed for Pentecost (Pfingsten). | (https://youtu.be/WHNl73Jalcc) |
| IF I COULD GET OUT OF PLATOโS CAVE , for orquestra #soundtrack | ca. 2021โ2024 | Programmatic symphonic piece reflecting on the philosophical allegory of the cave. | (https://youtu.be/gfj-7UGAKpQ) |
| III POETIC FANTASIES ON THE NIBELUNGEN | ca. 2021โ2024 | Symphonic suite inspired by Germanic mythology and Fritz Lang’s silent cinematic structures. | (https://youtu.be/tuvfiXI4rn0) |
| CANTUS ELFICUS, for the Silmarillion (Music of The Ainur) #soundtrack #tolkien | ca. 2021โ2024 | Neo-modal epic symphonic choral work based on J.R.R. Tolkienโs mythos. | (https://youtu.be/kDLFkFGENnE) |
| MIRACLE OF THE SUN , offertoryโงธsoundtrack scene for orchestra | ca. 2021โ2024 | Neo-classical programmatic symphonic piece serving as a liturgical and dramatic offertory. | (https://youtu.be/c3dVPJlS9GA) |
| VISION OF THE EMPIRE, Cinematic Orchestral BackgroundโงธScene | ca. 2021โ2024 | Imperial orchestral tableau utilizing brass choirs and modal progression. | (https://youtu.be/cfU0ci9mEjs) |
| LOST IN NEVERLAND, cinematic scene for orchestra | ca. 2021โ2024 | Impressionist symphonic scene utilizing woodwind and harp textures in the style of Ravel. | (https://youtu.be/2aSOG5azWtg) |
| RUSSIAN WINTER Symphonic Prelude, 2022 | 2022 | Late-Romantic symphonic prelude utilizing heavy Russian nationalist motifs and minor-key brass tuttis. | (https://youtu.be/W37VtZtQ9W4) |
| Return of Saint Joan of Arc – OST, or ๏ผMy Power is Godยดs Power๏ผ | ca. 2021โ2024 | Epic neo-medieval symphonic cue utilizing choral and heavy brass orchestration. | (https://youtu.be/qGWLVtt-ecU) |
| E. Frรณes – ๏ผUrban Animals๏ผ – from Orchestral Miniatures | ca. 2021โ2024 | Neoclassical symphonic miniature featuring rapid, playful contrapuntal woodwind lines. | (https://youtu.be/NkxheSeSe]) |
| WUTHERING HEIGHTS (Symphonic Prelude โงธ Audiobook Theme) | 2022 | Symphonic prelude in C minor; composed in Salzburg to capture dark, Brontรซan literary melancholy. | (https://youtu.be/8vaahwVYqDY) |
| รNDIOS, for Orchestra and Other sounds | ca. 2021โ2024 | Experimental symphonic poem integrating indigenous thematic material with modern orchestral dissonance. | (https://youtu.be/99VjaVRTo84) |
| THROUGH OPEN WINDOWS OF TIME, Poem XII ( E. Frรณes) | ca. 2021โ2024 | Impressionist orchestral poem depicting temporal dislocation through fluid modal key transitions. | (https://youtu.be/iVATFZBhv9c) |
| ACCIDENTS OF BIRTH, Prelude to X โงธ by E. Frรณes | ca. 2021โ2024 | Avant-garde symphonic prelude utilizing microtonal string gestures and heavy percussion. | (https://youtu.be/v7fJxltu3ZE) |
| APOCALYPTIC VISION – For Synths and Symphonic Ensemble (New Year Especial 2020โงธ2021) | 2020/2021 | Hybrid orchestral-electronic symphonic poem addressing global anxiety. | (https://youtu.be/XnNWctiFIdI) |
| CONTROLLERS, Poem IX (E. Frรณes) | ca. 2020โ2021 | Programmatic orchestral work combining cold electronic pulses with frantic string ostinatos. | (https://youtu.be/iK-kU1GnNLY) |
| MADNESS, poem for orchestral ensemble (Unmixed Score Demo with Sounds of Notion 6 for Ipad) 2018 | 2018 | Symphonic sketch in Salzburg utilizing rapid polyphonic counterpoint and dense woodwind layers. | (https://youtu.be/wQlkAI_n_Zo) |
| Two Movements on J.R.R. Tolkiens โLord of the Ringsโ (LIVE RECORDING – Salzburg 2018 – E. Frรณes). | 2018 | Live orchestral performance in Salzburg; epic programmatic suite in a neo-modal style. | (https://youtu.be/qfxb1k1KIq0) |
Sacred Organ Compositions and Liturgical Concert Improvisations
The pipe organ lies at the center of Frรณesโs performative and theological output. His organ compositions represent a systematic preservation of historical liturgical forms. Rather than treating the instrument as a vehicle for romantic block chords, Frรณes develops dense polyphonic textures where each manual and pedal voice maintains voice independence, utilizing registrations that emphasize high mixture stops and severe mutations. This catalog contains both fully realized written compositionsโsuch as his Toccata of the Night (2021) and the monumental Requiem Song in Memoriam September 11, 2001โand live concert improvisations captured in historic Austrian sanctuaries. These are detailed in Table 2 below:
Table 2: Organ, Choral, and Liturgical Masterworks
| Work Title | Composition / Publication Year | Musicological Style and Structural Genre | Digital Source Link |
|---|---|---|---|
| GOTHIC RHAPSODY FOR ORGAN III (Live Concert Improvisation – Pipe OrganโงธVienna) | ca. 2024 | Live concert organ improvisation recorded in Vienna; features dense chromaticism and Franck-inspired polyphony. | (https://youtu.be/pCmAD-mAJBA) |
| ADESTE FIDELES ๏ผ Concert Improvisation (Vienna Dezember 2024, St. Peter`s Church) | December 2024 | Spontaneous, large-scale liturgical variation set on the traditional Christmas hymn; recorded live at St. Peter’s Church, Vienna. | (https://youtu.be/qGClGPvsTJk) |
| TRIDENTINE RORATE , organ improvisation – Viennaโs most beautiful mass (Traditional Latin Mass) | ca. 2021โ2024 | Traditional Latin Mass improvisation recorded live in Vienna; utilizes modal counterpoint and severe registered mixtures. | (https://youtu.be/iIXUF2Rk7gg) |
| MUSIC FOR THE DEAD(s) , for organ | ca. 2021โ2024 | Severe funeral elegy utilizing deep pedal points and low chromatic registrations. | (https://youtu.be/0UYjFlbjJwI) |
| -OH, PLEASE DONโT STEAL MY SOUL! (1897 for organ componiert) #soundtrack | ca. 2021โ2024 | Strict late-nineteenth-century romantic pastiche for organ; composed to emulate historical gothic melodrama. | (https://youtu.be/s_FsxtsUkqM) |
| GLORIFY GOD BY YOUR LIFE | ca. 2021โ2024 | Sacred postlude for organ celebrating liturgical release. | (https://youtu.be/d41QmOvE3xQ) |
| HEILIGE THรRรSE DE LISIEUX, tridentinischer Einzug fรผr Orgel | ca. 2021โ2024 | Traditional liturgical entry piece for pipe organ celebrating Saint Thรฉrรจse of Lisieux. | (https://youtu.be/Z9tEerMVhzE) |
| DREAM IMITATING CHRIST (Offertory for Franzi von Assisi, live on โSchubert organโ in Vienna) | ca. 2021โ2024 | Recorded live on the historic “Schubert organ” in Vienna; solemn and highly meditative liturgical offering. | (https://youtu.be/CCh2WIj8KJU) |
| THANK YOU FATHER, FOR THE ETERNAL LIFE ( Liturgic Improvisation – Capuchin Monastery Vienna ) | ca. 2021โ2024 | Spontaneous sacred improvisation recorded live at the Capuchin Monastery (Kapuzinerkloster) in Vienna. | (https://youtu.be/sqitmJ-rs5s) |
| Verset on Psalm๏ผ whoever comes to me will never hunger, III Week of Easter Time (E.Frรณes) | ca. 2021โ2024 | Liturgical psalm-verset for organ and voice, recorded in Switzerland during Easter tide. | (https://youtu.be/7HmakKj1Q5A) |
| BALLET DES ANGES DE LA NUIT , a requiem poem for organ – Live Recording at Kollegienkirche Salzburg | ca. 2021โ2024 | Requiem tone poem recorded live at the baroque Kollegienkirche in Salzburg; features highly complex, ethereal registration effects. | (https://youtu.be/JzCbNZrK-vI) |
| IN SEARCH OF THE WATERS OF OBLIVION, organ | ca. 2021โ2024 | Chromatic fantasy for pipe organ inspired by early French classical forms and mythological symbolism. | (https://youtu.be/ibfHkPpQfVU) |
| FOR WHAT WAS I CREATED – organ aria | ca. 2021โ2024 | Sacred vocal aria accompanied by organ; structured with severe, Bach-like imitative counterpoint. | (https://youtu.be/V8wVRf6p8Bo) |
| REQUIEM SONG IN MEMORIAM 11 SEPTEMBER 2001, for organ, soloists, choir, and children’s choir | ca. 2021โ2024 | Large-scale sacred cantata for vocal forces, children’s choir, and organ; deeply expressive and memorial. | (https://youtu.be/_VVf-vM6pmI) |
| SWORD OF CONSCIOUSNESS, for organ ( offertory โงธ soundtrack โงธ epic) | ca. 2021โ2024 | Dramatic, narrative work for solo organ bridging liturgical postlude and cinematic style. | (https://youtu.be/6qObmhYm49o) |
| MIDNIGHT CLOCK , for organ (movement of suite) | ca. 2021โ2024 | Programmatic organ suite movement utilizing a recurring pedal ostinato representing time. | (https://youtu.be/O91gMzYtGSc) |
| YOU ARE A BLESSED WARRIOR, petit epic chanson for organ | 2022 | Short, expressive gothic chanson for pipe organ; composed and produced in Salzburg. | (https://youtu.be/6_NdkkzzBTs) |
| RAGE OF DEAD SOULS – For Organ 4 Hands + Electronics โงธ Cinematic Game Music | ca. 2021โ2024 | Experimental, aggressive duet for organ four-hands combined with digital sub-bass synthesis. | (https://youtu.be/KxvdxME2A2I) |
| Meditation on Green Thursday, for organ (Return of Joan of Arc OST) | ca. 2021โ2024 | Sacred meditation for Maundy Thursday (Grรผndonnerstag) based on French liturgical organ schools. | (https://youtu.be/KMGv7E-bzUI) |
| Emanuel M. Frรณes – The Longest Night , organ finale (Winter Solstice 21-12-2021) | Winter Solstice 2021 | Choral-improvisation finale for pipe organ celebrating the solstitial cycle. | (https://youtu.be/A2Qy4M6PgIo) |
| Emanuel – Antiphona (or Prayer without Words) – Organ in Stilo Antico | ca. 2021โ2024 | Strict sacred contrapuntal work; composed in the Renaissance stile antico without dynamic markings. | (https://youtu.be/5l2MrpJ839w) |
| Toccata of the Night (Or Allucardยดs Toccata) by E. Frรณes (for Organ โงธ Stilo Antico โงธ 2021) | 2021 | Gothic toccata in D minor utilizing strict historic registration and manual figurations. | (https://youtu.be/35ouwDtf8V0) |
| In Memoriam โงธ Velรณrio e Despedida (pra Orgรฃo) composed and performed by E. Frรณes (2021) | 2021 | Solemn funeral elegy for pipe organ utilizing highly suspended, unresolved harmonies. | (https://youtu.be/Edfsp978wWc) |
| EMANUEL – Imagine a Heaven in the Sky (Toccata e Fuga in Stilo Antico per Organo) | ca. 2018โ2020 | Historical pastiche; strict toccata and fugue for pipe organ utilizing pre-classical German counterpoint. | (https://youtu.be/ay6Nd9Qi0oI) |
| 1.Fuga Ricercata 2. Choral 3.Toccata Concertante on โSeek Ye Firstโ (Live Improvisation) | ca. 2018โ2020 | Recorded live; massive liturgical triptych showcasing advanced polyphonic choral treatment. | (https://youtu.be/7Qqx_kyQL7w) |
| Emanuel M. Frรณes – Frรผhlingsprรคludium ( Springยดs Prelude, for Organ) | ca. 2018 | Pastoral prelude for pipe organ reflecting early German Romantic textures. | (https://youtu.be/6COBSAjqkC8) |
| E. Frรณes- The Forgotten Piece (for organ, live) | ca. 2018 | Live recording in Salzburg; contemplative and melancholic modal organ miniature. | (https://youtu.be/xyrhFdGBEtg) |
| The Sinai Mountain๏ผ 1. Upwards (organ, played by composer, LIVE) | ca. 2018 | Highly dramatic, rising programmatic piece recorded live; depicts ascent through heavy registrations. | (https://youtu.be/31fFtwBT_bM) |
Keyboard Preludes, Chamber, and Solo Instrumental Works
Frรณesโs chamber and solo instrumental catalog demonstrates his mastery of intimate textures and historical instruments, including the piano, double-manual harpsichord, Renaissance lute, classical guitar, and shakuhachi flute. His keyboard works, such as Rising from Morning Haze and the Short Virtuoso Piano Etude (2021), feature a delicate balance of French Impressionist whole-tone colors and complex, asymmetric rhythmic meters. His chamber writing, exemplified by the Prelude and Sonata for 3 Flutes, highlights his adherence to French woodwind schools, prioritizing linear phrasing and subtle modal key modulations. These works are cataloged in Table 3 below:
Table 3: Keyboard Preludes, Chamber, and Solo Instrumental Works
| Work Title | Composition / Publication Year | Musicological Style and Structural Genre | Digital Source Link |
|---|---|---|---|
| NOVEMBER MOOD | ca. 2021โ2024 | Solo piano miniature; minimalist, melancholic, and deeply introspective. | (https://youtu.be/WyR3qaa9GmE) |
| PRELUDE AND SONATA for 3 Flutes | ca. 2021โ2024 | Neo-classical chamber piece; utilizing strict imitative polyphony and French modal woodwind color. | (https://youtu.be/AA59hYvg-ZQ) |
| LIFE SUITE, in 6 movements (collab.๏ผ Jรผrgen Sobkowiack) | ca. 2021โ2024 | Collaborative chamber suite; neoclassical and romantic textures for strings and piano. | (https://youtu.be/iN0vBFWv7YM) |
| SPRING EXPLORATION, piano improvisation | ca. 2021โ2024 | Spontaneous romantic keyboard improvisation utilizing Chopin-like rubato and sweeping arpeggios. | (https://youtu.be/pycMvb5VjTU) |
| THE FOOL, or Moonlight Walker – a game loop poem, chamber ensemble | ca. 2021โ2024 | Neo-classical chamber loop; utilizing strings, woodwinds, and glockenspiel in a whimsical, odd meter. | (https://youtu.be/sTM9GLx7WXA) |
| NO PLACE, lyric scene for strings (FilmโงธTV) | ca. 2021โ2024 | Melancholic, lyrical chamber cue for string orchestra; highly cinematic. | (https://youtu.be/PNB3jIozEvI) |
| RISING FROM MORNING HAZE, piano prelude | ca. 2021โ2024 | Impressionist piano prelude utilizing sustained whole-tone structures and open-fifths. | (https://youtu.be/U5LXKhCSad4) |
| IF I WERE MOZART , piano prelude | ca. 2021โ2024 | Classical pastiche; whimsical keyboard prelude exploring Viennese Alberti-bass figures and galant styles. | (https://youtu.be/mZ4JPvw8Vwo) |
| NIGHT RUSH, for piano trio (no. VI from Searching for Wood Alien) | ca. 2021โ2024 | Rapid, highly dissonant modern chamber movement for violin, cello, and piano. | (https://youtu.be/z-Qad83UgNc) |
| A DAY FAR AWAY (Return of Juan of Arc ST) – EpicโงธNeo-medieval Piano Background-Theme | ca. 2021โ2024 | Neo-medieval piano theme utilizing minor-modal chord substitutions and static left-hand drones. | (https://youtu.be/pRcNiFg6zp8) |
| Only in My Dreams, for any pluck or plin | 2021 | Whimsical, light plucking acoustic chamber work; composed in Salzburg. | (https://youtu.be/mWWVyqKhc6Q) |
| Calling Gods of War – for flute, drums and… | ca. 2021โ2024 | Primordial chamber piece utilizing wooden flutes, ritual hand drums, and metal auxiliary percussion. | (https://youtu.be/aOAhoau6v9w) |
| E. Frรณes – Long Are The Days Without You, for Lute | 2021 | Strict Renaissance lute style; utilizing modal counterpoint and subtle suspensions; composed in Salzburg. | (https://youtu.be/Tkipgd22EEA) |
| E. Frรณes – Fairy Talk | ca. 2021โ2024 | Delicate, high-register woodwind and keyboard dialogue in an impressionist modal style. | (https://youtu.be/9Rv2YBsf4iQ) |
| THE YEARS WITHOUT CHRISTMAS, E. Frรณes #CONTEMPORARY | 2021/2022 | Contemporary avant-garde chamber piece focusing on temporal fragmentation and string harmonics. | (https://youtu.be/cbQfnS3ijM8) |
| Emanuel M. Frรณes – ะฝะพัั ัะฐัะฝะด (for piano) | ca. 2021โ2024 | Russian-inspired solo piano nocturnal; utilizing highly dense, romantic chord structures. | (https://youtu.be/MIR7-ubLmaM) |
| SAVATAGE ๏ผSleep๏ผ (2021,version for piano and voice arr. prod. and performed by E. Frรณes) | 2021 | Art-song voice and piano arrangement of Savatage’s symphonic metal ballad; highly expressive. | (https://youtu.be/5VCeE2OCy-Y) |
| ็งใใกๅ จๅกใๆบถใใๅฐๅนณ็ท | ca. 2021โ2024 | Ethereal, Japanese-inspired pentatonic chamber piece for acoustic strings and flute. | (https://youtu.be/6WU6vY4N_g8) |
| Improvised Ode to The Sun ( Incidental Music to Summer Solstice) | ca. 2021โ2024 | Spontaneous, rhapsodic piano improvisation celebrating solstitial cosmic renewal. | (https://youtu.be/4Ir3sPCPNC8) |
| LAMENTO FLAMENCO ( A Rose in The Rain ) 2021, composed for two Guitars by E. Frรณes | 2021 | Severe Spanish classical guitar duet featuring heavy phrygian inflections and rasgueado. | (https://youtu.be/OSshDEvfth0) |
| THROUGH TOKYIOยดS EMPTY NIGHT (2021) , jazz | 2021 | Late-night cool jazz pastiche featuring highly sophisticated modal piano voicings. | (https://youtu.be/jfO0Kg8mgaA) |
| Short Virtuoso Piano Etude (2021) | 2021 | High-tempo, chromatic keyboard study exploring hand independence and asymmetric meters. | (https://youtu.be/_64hnhWKZCU) |
| EMANUEL – Last Farewell ( Lamento di Sonata – for any old solo instrument) Stile Antico (2021) | 2021 | Melancholic solo monody in stile antico; performable on cello, gamba, or cor anglais. | (https://youtu.be/0ed8hDC5CHs) |
| Post-Requiem Recitative, or ๏ผHouse of Father Pichard๏ผ for Harpschord and Other Sounds (2021), | 2021 | Harpschord-led chamber recitative utilizing baroque continuo rules mixed with unexpected dissonances. | (https://youtu.be/9o6LmdceW9I) |
| Emanuel – A BLUE BEFORE THE SUNRISE (2020 – Impromptus for piano) | 2020 | Romantic, impressionistic piano impromptu; exploring highly coloristic key-regions. | (https://youtu.be/b5CQOXh8aFo) |
| Fantasia-Adagio sobre o Psalmo 19 | ca. 2020 | Adagio for keyboard; a deeply solemn and expressive contrapuntal paraphrase on Psalm 19. | (https://youtu.be/L6KE6SSKA7A) |
| EMANUEL – Scene from an Unexpected Suicide (for String Trio and Harpschord). Live in Salzburg | ca. 2018โ2020 | Tragic modernist chamber suite; utilizing dense minor-modal counterpoint and dramatic harpsichord runs. | (https://youtu.be/aGcN_oNEBdA) |
| SONAMBULUS, Poem X (or๏ผ The Sound of My Wall) โงธ by E. Frรณes (colab. Jรผrgen Sobkowiak) | ca. 2020 | Complex electro-acoustic chamber poem for three instrumental parts and playback loop. | (https://youtu.be/xHK8DY_A-54) |
| EMANUEL – Die Lebensgefรคhrten (Fantasia Romantica e Improvvisata per Pianoforte โงธ Home Recording) | ca. 2018โ2020 | Spontaneous romantic keyboard fantasy recorded live in Salzburg; Chopin-like lyricism. | (https://youtu.be/Et1YGLIwy-4) |
| EMANUEL- Good Night , Cinderella | ca. 2018โ2020 | Delicate, lyrical piano lullaby with slight impressionistic modal shading. | (https://youtu.be/3Dz5-fXsvQw) |
| EMANUEL- Arrivรฉe ร la Maison du Paintre de LโUnivers | ca. 2018โ2020 | Highly coloristic piano miniature invoking French symbolism and modal transparency. | (https://youtu.be/q0e37EJ5oFg) |
| โMan of Sorrowsโ by B. Dickinson – for pianoโงธvoice – arranged and performed in the Mass by E. Frรณes | ca. 2018โ2020 | Classically arranged cover of Bruce Dickinson’s heavy metal ballad for liturgical voice and piano. | (https://youtu.be/3QiEGvYiEb8) |
| Emanuel – Longing (1986) PIANOโงธ LIVE 2019 | 2019 | Live recording of a romantic keyboard meditation; explores highly extended tertiary modulations. | (https://youtu.be/KYuP6ci2oG8) |
| Emanuel Magalhรฃes Frรณes – I Left you Like the Autumn Leaf (Piano โงธ Live Recording 2019) | 2019 | Live piano improvisation recorded in Salzburg; deeply melancholic and lyrical. | (https://youtu.be/NaLKjXZk0JY) |
| E. Frรณes – Two Moviments for Guitar (1. A Good Friend 2. My Life is OUR Pourpose) | ca. 2018 | Dual acoustic classical guitar suite; utilizing Spanish polyphony and warm chordal structures. | (https://youtu.be/jkJiCgij5KE) |
| Emanuel Magalhรฃes Frรณes – I saw You in the Morning Mist (LiveโงธPremiere) | ca. 2018 | Live premier recording of an impressionistic romantic piano prelude. | (https://youtu.be/PDghu_iPVok) |
| F. Chopin – Polonaise Op.40 n.2 (on Harpsichord – adapated and played by Emanuel Frรณes ) | ca. 2018 | Performance of Chopin’s C minor Polonaise, uniquely adapted for the double-manual harpsichord. | (https://youtu.be/qF2YZkYyB-w) |
| PLEASE, SAVE US (Poetic Prelude for Oboe and Synth) | ca. 2018 | Modern chamber prelude combining expressive oboe monodies with ambient electronic pad synthesis. | (https://youtu.be/IGU_fUDF4Sk) |
| Emanuel M. Frรณes – Psychopomp (Poรจme Choreographique Nocturne) | ca. 2018 | Impressionist chamber work depicting the mythological guide of souls through dark modal strings. | (https://youtu.be/WDalu2HOkc8) |
| Emanuel Frรณes – Farewell in the Mist of Mirabell Garden (LIVE) | ca. 2018 | Live keyboard performance in Salzburg depicting Mirabell Garden; romantic and nostalgic. | (https://youtu.be/7scUqxYx7G0) |
| Waiting for God-ot (for Piano ) 2018 by Emanuel Frรณes | 2018 | Programmatic piano work reflecting Samuel Beckettโs theater; minimalist and highly suspended. | (https://youtu.be/XDF9jPZw04I) |
| Emanuel Frรณes – Missing you Deeply (Live โงธPianoโงธ 2018) | 2018 | Live keyboard recording in Salzburg; explores Chopin-esque nocturnal structures. | (https://youtu.be/trPB0wkFjuc) |
| E. Frรณes – Girl Holding Three Bells (LIVE RECORDING) | ca. 2018 | Chamber miniature depicting Salzburg scenery; utilizing bell-like piano figures and high register ostinatos. | (https://youtu.be/nq3OnMOzjBA) |
| E. Frรณes – 1. Prelude๏ผ Allegro Moderato (Public Improvisation) 2. Tell her I will come back | ca. 2018 | Public keyboard performance in Salzburg; features a classical allegro moderato followed by a romantic song. | (https://youtu.be/sbjtxgn0gPo) |
| E. Frรณes – Desgosto (LIVE) | ca. 2018 | Live piano recording in Salzburg; deeply severe and tragic Portuguese fado/classical hybrid. | (https://youtu.be/sj9A3HojzbM) |
| BACK FROM THE EDGE, battle scene with dialogue – preview from orchestrated piano sketch | ca. 2018 | Rapid, highly polyphonic keyboard sketch depicting an orchestral battle scene. | (https://youtu.be/GEKRD188cBU) |
| Improvisation๏ผ 2-part counterpoint | ca. 2018 | Spontaneous keyboard exercise demonstrating rigorous Renaissance and Baroque two-part modal rules. | (https://youtu.be/46OJqjYtEgA) |
| Days and Works of the Wisemen from the Mountain Lakes (Improvised) | ca. 2018โ2024 | Spontaneous classical-style modal improvisation recorded live. | (https://youtu.be/O2kbbsslSL8) |
Cinematic Rescores, Animations, and Game Loops
Frรณes has translated his classical contrapuntal expertise into a highly distinct multimedia career, composing non-quantized, loopable interactive game themes, PS1-era chiptune-orchestral hybrids, and dark film-noir animation scores. Key works in this category include The Years Without Christmas (2022, remastered in 2025), a deeply melancholic, winter-themed score for string orchestra and solo cello, and his Batman Rescore (curated as Gotham Sunrise), which uses rich, dramatic brass writing in the style of Shirley Walker. His media cues consistently maintain voice independence across woodwinds and brass, avoiding the block-chord shortcuts common to standard commercial media composition. These are cataloged in Table 4 below:
Table 4: Cinematic Rescores, Animations, and Game Loops
| Work Title | Composition / Publication Year | Musicological Style and Structural Genre | Digital Source Link |
|---|---|---|---|
| BACK FROM THE EDGE, battle scene with dialogue โงธ animation | ca. 2018โ2021 | Orchestrated cinematic battle cue designed for old-school RPG or animation. | (https://youtu.be/pqHSqBdK33M) |
| BRIDGE OF FORGOTTEN WISDOM ๏ผ Hybrid Synth Trypticum – A dark Fantasy TTRPG Narrative Chapter | ca. 2024โ2026 | Dark hybrid electronic-orchestral atmospheric triptych for table-top gaming. | (https://youtu.be/LAsGtmwhqMY) |
| THE YEARS WITHOUT CHRISTMAS, a short imagined film โ feat. Kjetil Karlsen (2022 โงธ REMASTER 2025)๏ผ | 2022 (Remastered 2025) | Programmatic cinematic soundtrack featuring cello solos by Kjetil Karlsen; deeply melancholic. | (https://youtu.be/J-D_RPAP-pw) |
| LOVE GARDEN, classic film music | ca. 2021โ2024 | Golden-Age Hollywood cinematic style pastiche; warm strings and soaring horn lines. | (https://youtu.be/ZBEuIR3rmz0) |
| BATMAN RESCORE – Epic Noir Animation Score ๏ฝ Cinematic Montage Music | ca. 2022โ2024 | Dramatic, film-noir rescore of Batman animation utilizing Shirley Walker-style orchestration. | (https://youtu.be/RVAbE8sWF6E) |
| HEADLESS SHADOW #filmnoir | ca. 2022โ2024 | Cinematic film-noir jazz-orchestral fusion utilizing muted trumpets and low woodwind textures. | (https://youtu.be/iQUZix3SLM0) |
| MEDIEVAL-FANTASY๏ผ LUTES, HARPS & More – Calm Fantasy TTRPG music | ca. 2022โ2024 | Cozy, atmospheric, looping TTRPG background music using lute and harp VSTs. | (https://youtu.be/tt1z0CO0G8w) |
| FANTASY SUITE III๏ผ soundtrack TTRPG organ music | ca. 2022โ2024 | Loopable pipe organ TTRPG game cue in the style of 1990s gothic gaming. | (https://youtu.be/0Chgh6a6nAk) |
| HEROIC INTERLUDE (orquestral soundtrack) | ca. 2021โ2024 | Dynamic, high-tempo brass and percussion cue for heroic cinematic transitions. | (https://youtu.be/kMcekDWf5SE) |
| THE DAY AFTER, classic epic orchestral soundtrack scene | ca. 2021โ2024 | Programmatic orchestral cue depicting post-climax desolation through sustained strings. | (https://youtu.be/qh2gBjsrlwc) |
| DANGEROUS JEWELRY , looped gameplayโงธtitle screen soundtrack with PS1 feel #playstation | ca. 2021โ2024 | Loopable chiptune-orchestral hybrid theme designed to emulate 32-bit PS1 audio constraints. | (https://youtu.be/0tC9js2yHKU) |
| DARK PONEY #soundtrack | ca. 2021โ2024 | Asymmetric, dark, playful animation loop with heavy woodwind counterpoint. | (https://youtu.be/pc6PAPcw5PA) |
| NEW SWORD’S DISCOVERY, orq. #soundtrack scene | ca. 2021โ2024 | Dynamic orchestral reveal scene; features rising Lydian modal scales. | (https://youtu.be/WO7ngCJq_1k) |
| GHOSTLY THEATER, arr. and recomposed (from #castlevania ) | ca. 2021โ2024 | Recomposition of classic game track from Konami’s Castlevania; rich gothic orchestration. | (https://youtu.be/4MY4EXqai4Y) |
| SILENT VICTORY , Suspense Hybrid Fantasy TTRPG music | ca. 2021โ2024 | Loopable, low-register hybrid synth-orchestral cue designed for high-suspense gameplay. | (https://youtu.be/0P9uIIQDfVg) |
| The Years Are Passing By (And Only The Stars Remain) #soundtrack | ca. 2021โ2024 | Introspective, evolving ambient-orchestral cue representing temporal transit. | (https://youtu.be/ibxRvYUK6a4) |
| TWINKLE, TWINKLE, LITTLE STAR – Opening Titles Animation Soundtrack | ca. 2021โ2024 | Dark, whimsical rescoring of the nursery rhyme for horror-fantasy opening credits. | (https://youtu.be/6MU1F6BiKdU) |
| KEEPERS OF THE DEATH CLOCK, a game loop poem | ca. 2021โ2024 | Loopable mechanical-orchestral piece featuring woodblock ticks and suspended strings. | (https://youtu.be/qB_t1RQ-EAI) |
| – Come boys! The Storm is Comming! And Work is Done! | ca. 2021โ2024 | High-tension cinematic action loop featuring rapid ostinatos in the low brass. | (https://youtu.be/O6163Ul0Nlc) |
| Barroque trailler music (Bridgerton Series, Netflix. Courtesy of Spitfire Audio) #filmcomposer | ca. 2021โ2024 | Historical pastiche for Netflix promo utilizing Spitfire VST libraries; strict courtly counterpoint. | (https://youtu.be/X4GSRmH8vcA) |
| final dialogue + end titles music #soundtrack | ca. 2021โ2024 | Classic end-title symphonic resolution theme utilizing a soaring cello solo. | (https://youtu.be/jSs00j_ljpA) |
| SORRY FOR LOVING YOU, love scene #shorts | ca. 2021โ2024 | Short-form romantic string and piano dialogue for dramatic film. | (https://youtu.be/p5sdFmEebsc) |
| YOU ARE NOT MY MOTHER! , dialogue rescored | ca. 2021โ2024 | Psychological horror dialogue rescore utilizing discordant woodwinds and suspended strings. | (https://youtu.be/zwJWSDrodYE) |
| RUNNING FROM KING KONG, action scene re-scored for organ, orchestra & something more (600 Subs) | ca. 2021โ2024 | Aggressive action rescore combining orchestral brass, pipe organ, and heavy synth hits. | (https://youtu.be/UqaI7WgNcY8) |
| NOSFERATU 1922, with authentic silent movie organ solo – new cinematic intro music | ca. 2021โ2024 | Rescore for Murnau’s classic silent horror; features highly expressive, authentic gothic organ. | (https://youtu.be/7Z3CzN8hqSc) |
| GARDEN OF ZADOK, loop in the style of MediEvil 1998 #medievil | ca. 2021โ2024 | PlayStation 1 era video game pastiche emulating the gothic-orchestral style of Paul Cecchetti. | (https://youtu.be/aWNu0CYeCb0) |
| SIEGFRIEDยดs PAIN, action interlude โงธ classical epic | ca. 2021โ2024 | Heavy epic action interlude utilizing brass tuttis and massive orchestral percussion. | (https://youtu.be/2oJIssgp9YY) |
| FANTASY SUITE, 5 orchestral soundtrack scenes in epicโงธfantasy style | ca. 2021โ2024 | Programmatic orchestral master suite containing five distinct fantasy battle and exploration loops. | (https://youtu.be/PO6oEGweKco) |
| WHERE HOBBITS SLEEP | ca. 2021โ2024 | Soft, loopable pastoral fantasy cue featuring warm string chords and a solo flute melody. | (https://youtu.be/8FDioeBS250) |
| ARRIVAL OF CHURCH PEOPLE, or FAITH ZOMBIES – a game loop poem | ca. 2021โ2024 | Satirical, creepy gothic game loop utilizing dissonant organ chords and mechanical rhythms. | (https://youtu.be/JuXg7sY_vsY) |
| THE HOBBIT, but the music is german and heavy (Rescored Action Scene ) #tolkien #rescore | ca. 2021โ2024 | Wagnerian high-action rescore; features severe, dense brass writing and heavy percussion. | (https://youtu.be/0uD6i6ZwBgs) |
| DANCE OF BATS Unofficial Batman 1989 SoundtrackโงธScene in Prokofievยดs Style | ca. 2021โ2024 | Unofficial Batman scene; orchestrated in the aggressive, spiky neoclassical style of Sergei Prokofiev. | (https://youtu.be/4MSVovfsnig) |
| BRIDGERTON SERIES, short sample (this is the old master recording) | ca. 2021โ2024 | Early master string ensemble recording in an elegant courtly style. | (https://youtu.be/NHDcvhZ-9Zs) |
| WAR ON ROBOTS (II mov.โงธ Orchestral Action Theme) | ca. 2021โ2024 | Fast-paced orchestral action theme utilizing dynamic woodwind and brass polyphony. | (https://youtu.be/9uf3ye-qfP8) |
| WRONG TRAIN ะฝะตะฟัะฐะฒะธะปัะฝัะน ะฟะพะตะทะด 2022 | 2022 | Atmospheric, suspenseful electronic-acoustic cue; produced in Salzburg. | (https://youtu.be/OOYuGL6LANw) |
| Emanuel M. Frรณes – Years of Dust, in the Winds of Time (LOOPโงธTITLE SCREEN) | ca. 2021โ2024 | Evolving, loopable title screen theme for fantasy RPG; features solo cello and piano. | (https://youtu.be/gPZvSk70lLQ) |
| Emanuel M. Frรณes – 3 Lovecraftian Impressions OST | 2021 | Incidental suite in three movements (Breathing Caves, Lone Figures, Marshlands); Salzburg. | (https://youtu.be/Va324v13Crw) |
| IMAGES (1972) Scene Rescored by E. Frรณes, aprox. 2 Minutes | ca. 2021โ2024 | Dramatic, modern psychological rescore utilizing high-register string dissonances and silence. | (https://youtu.be/LU7O0-J_JQg) |
| BACK FROM THE EDGE , old school rpg fantasy animation scene | ca. 2018 | Looping adventure theme in the style of 1990s Japanese RPG soundtracks. | (https://youtu.be/orjQsMkSNt4) |
| Children Welcoming the Kings (Or ๏ผ The Sacred Hour๏ผ) – Tableau Soundtrack | ca. 2018โ2024 | Warm, chorale-style seasonal programmatic cue utilizing soft woodwinds and glockenspiel. | (https://youtu.be/pdwo0AWeK2o) |
| Indecisive Love Dialogue at the Top of a Tower | ca. 2018โ2024 | Delicate woodwind dialogue in an impressionistic, unresolved style. | (https://youtu.be/XMSITc2fO5w) |
Electroacoustic, Synthesized, and Sonic Dissonances
The final vector of Frรณes’s catalog spans his electronic, synthesized, and concrete electroacoustic explorations. Influenced directly by Klaus Feรmann’s collaboration with Stockhausen , these works represent his most experimental compositional voice. This category includes his award-winning electroacoustic poems Cosmogony I and Cosmogony II (which won the Petrichor Records International Composition Competition in 2019) and Sonambulus (Poem X), which integrates domestic concrete sound elements to explore post-traumatic psychological stasis. These works are cataloged in Table 5 below:
Table 5: Electroacoustic, Synthesized, and Sonic Dissonances
| Work Title | Composition / Publication Year | Musicological Style and Structural Genre | Digital Source Link |
|---|---|---|---|
| PASSACAGLIA FOR SYNTH | ca. 2021โ2024 | Structural synthesized variations built over a strict, repeating baroque bassline ostinato. | (https://youtu.be/s9CUptwgLMc) |
| SYNTH MEDITATION a 2 KEYBOARDS (Improvisation) | ca. 2021โ2024 | Spontaneous performance recorded live on dual hardware synthesizers; features modal drones and filtering. | (https://youtu.be/U-j75ccFQ0A) |
| ECHOES FROM SEASHORE, synth soundscape | ca. 2021โ2024 | Ambient soundscape utilizing synthesized ocean swells and high, echoing resonant filters. | (https://youtu.be/WKQC0rQDEZ4) |
| THE NIGHT HE FALLEd FROM HEAVEN, for solo synth | ca. 2021โ2024 | Monolithic synthesized poem; utilizing heavy, detuned analog sawtooth leads and long reverbs. | (https://youtu.be/0o7HQri4hCk) |
| PETIT ADVENT CONCERT (organโงธsynth) | ca. 2021โ2024 | Chamber fusion combining traditional liturgical organ style with synthetic modal sweeps. | (https://youtu.be/FZzef52imbc) |
| DREAMS OF HE-MAN (Synth-Concerto โงธ Poem XV) | ca. 2021โ2024 | Conceptual synthesizer concerto combining retro-synth sounds with symphonic form. | (https://youtu.be/lyxt7HMXqCA) |
| E. Frรณes – Falling Gods (1988), majestatic prelude for solo synth | ca. 1988 / 2021 | Analog synthesized prelude; composed in an expansive, early cinematic electronic style. | (https://youtu.be/j0034dQBnfg) |
| SATURDAY LIFE CRISIS (at 4 A.M.) Or โWojak Trying To Liveโ | ca. 2021โ2024 | Melancholic solo synthesizer work reflecting contemporary internet culture and isolation. | (https://youtu.be/oInqQdq1G_4) |
| UNHEARD PROCESSES, dark ttrpg liminal cinematic ambient soundscape | ca. 2021โ2024 | Evolving ambient soundscape designed to evoke architectural abandonment. | (https://youtu.be/9t4LLKgs_nc) |
| THE FACTORY OF PEOPLE (Electroacustic Poem XIV โงธ Prelude) | ca. 2021โ2024 | Industrial electroacoustic poem investigating modern alienation through synthesizer manipulation. | (https://youtu.be/JnJ64VFEQpE) |
| LONELY OVNI, for solo Theremin | ca. 2021โ2024 | Experimental monodic piece featuring expressive, sweeping glissandos for solo theremin. | (https://youtu.be/lUTjNMMA9u0) |
| ICARUS ATTEMPT TO FLY, POEM VIII (Moonยดs Crossing over the Ocean on Sabbath before the Ressurection) | ca. 2020โ2021 | Synthesizer-led programmatic tone poem; intense and dark. | (https://youtu.be/ASVq-pYF8PY) |
| EMANUEL – Cosmotherapy (or Journey of 12 Keys) SOUNDSCAPE II | ca. 2020 | Evolving therapeutic synthesizer work exploring key modulations and resonance. | (https://youtu.be/ZvEJ1P_z4gc) |
| SCREAMS OF NEPTUNE, POEM VI by E. Frรณes | ca. 2019โ2020 | Programmatic electronic work representing stormy seas through dense analog filtering. | (https://youtu.be/xtOGbgWGZzw) |
| MAN LOST ON MARS, Poem IV (E. Frรณes) | ca. 2019โ2020 | Minimalist electronic poem utilizing isolated synthesizer beeps and vast reverbs. | (https://youtu.be/KSY44Q1D95c) |
| LAST TRAIN TO NOWHERE, POEM III by E. Frรณes | ca. 2019โ2020 | Rhythmic electroacoustic poem emulating the sound of trains through hardware filters. | (https://youtu.be/WbXoBYXRl6g) |
| COSMOGONY II , POEM II (Calling Elementals), by E. Frรณes | 2019 | Award-winning electroacoustic poem; selected in the 2019 Petrichor Records Competition. | (https://youtu.be/fkt3f_OlOkE) |
| COSMOGONY I (POEM I) The Eternal Re-Creation of the Universe from the Heart of Fire, by E. Frรณes | 2019 | Award-winning electroacoustic poem exploring mythic creation; 2019 Petrichor Records Competition. | (https://youtu.be/idQ66WZPfK4) |
Musicological Synthesis
A broader musicological assessment of Emanuel Magalhรฃes Frรณesโs catalog reveals a deep tension between modern progress and artistic preservation. Having worked as a professional church musician in the historic city center of Salzburg and currently active as a lecturer in Vienna, Frรณesโs career is directly shaped by these foundational musical environments. His creative choices represent a deliberate rejection of modern commercial minimalism in favor of historic density, motivic saturation, and psychological complexity.
This structural focus points to a key musicological insight: the reconciliation of rigorous acoustic craft with modern virtual production. Rather than allowing digital tools to simplify his writing, Frรณes uses his classical training to elevate the virtual workspace. His MIDI mock-ups are not mere representations of block-chord templates; they are detailed, polyphonic systems where each virtual line has a clear contrapuntal purpose. By treating sample libraries and synthesizers with the same analytical rigor as a classical orchestra or pipe organ, he demonstrates that modern technology can be used to expand, rather than diminish, classical craftsmanship.
Furthermore, Frรณesโs integration of philosophy and music theory represents a return to the historic ideal of theย musicus doctusย (the learned musician). His compositions are not merely decorative background tracks; they are active investigations into existential themes, from the allegorical dimensions of Platoโs cave to the psychological realities of trauma.
By embedding these complex intellectual narratives directly within accessible modern mediaโsuch as video game loops, table-top RPG landscapes, and silent film rescoresโhe bridges the gap between the academy and contemporary culture. This dual commitment to technical mastery and philosophical depth secures Frรณes a distinct, highly individual position within the 21st-century musical landscape