Mario Verandi’s music goes beyond music. It’s electronic. It’s also theater, dance, sound art, film, radio. In fact, Verandi has such a strong sense of dramatic personality, and his music is so evocative, that you’ll find yourself in a musical theater. You’ll hear percussion instruments from Brazil. You’ll hear the sounds of Barcelona, with its street bustle, guitars, and rhythms, in your living room. He evokes a kind of flamenco that you’ll rarely hear, with suggestions of guitars, the dancing and tapping of many shoes, the chanting and singing … and uses it to set his musical stage for Lorca’s ‘Blood Wedding’. And there’s a playful side to his music as he plays with the sounds of paper and cloth, glass, leaves, plastic bottles. All the world’s his stage.” Electronic Music Foundation, New York, 2001. 

Subtitled: Compositions for Solo Instruments and Ensembles. Features: "Gestures for Eleven" (1964, chamber ensemble), "Trio For Trumpet, Trombone and Percussion," (1966), "The Laughing Third (1995, for piano), "String Quartet No. 3" (1963), "Sonatina for Bassoon Alone" (1953), "at loose ends" (1974), "Mutatis Mutandis 7" (1987, for flute), "Nonet" (1969, chamber ensemble),