Aldo Clementi

A panorama of Italian 1960-70's contemporary music for string quartet composed by Boris Porena, Bruno Canino, Azio Corghi, Aldo Clementi, Franco Donatoni, Umberto Rotondi and Marcello Panni, performed by the Quartetto Della Società Cameristica Italiana and released on the beautiful Italia label in 1978.

condition (record/cover): VG (record looks near mint but has surface noise throughout) / VG+ (creasing + small tag on front + spine wear + minimal general wear). Italian post-war avant-garde meets the new music pioneers! This rare Italia label release documents the Continuum Ensemble Dortmund under conductor Werner Seiss performing landmark works from the European experimental vanguard. Carlos Roqué Alsina's Funktionen (1965) showcases the Argentine-French composer's work with Luciano Berio and …

condition (record/cover): EX- (minimal surface noise) / VG+ (small tag on front + ring wear) Gatefold sleeve.  Italian post-war chamber music at its finest. Marcello Panni conducts the Solisti di Teatromusica, the ensemble he founded in 1971, in essential works by four masters of Italian modernism. Recorded Rome, March 1972. Collana Edizioni Suvini Zerboni. Franco Donatoni's Souvenir (Kammersymphonie, Op.18) showcases his serial period before the compositional crisis of the mid-1960s. Camillo To…

condition (record/cover): NM/NM Gatefold sleeve. A remarkable tribute to one of Italy's most influential composers! This album honors Goffredo Petrassi (1904-2003) with his own Inno alongside six commissioned works by distinguished international composers: Elliott Carter's Riconoscenza per Goffredo Petrassi, Armando Gentilucci's Metafore del Tempo, Gérard Grisey's Anubis et Nout, Donald Martino's Canzone sul Nome Petrassi, Luis de Pablo's Dos Epigramas de Marcial, Cristóbal Halffter's Dialogo, a…

“It has been my conviction for a number of years that Music (and Art in general) must simply assume the humble task of describing its own end, or at any rate its gradual extinction,” wrote Italian maestro Aldo Clementi (1925–2011) in 1973. Three years earlier he had written B.A.C.H., a piano piece which proved to be pivotal. From this point on, almost all his works are — in David Osmond-Smith’s words — constructed from “tonal fragments arranged in a polytonal canonic counterpoint that ensures ne…

Mega Tip! 300 copies only. Alga Marghen proudly presents the previously unreleased “Collage 2” and “Collage 3 (Dies irae)” for magnetic tape, both realised at the Studio di Fonologia Musicale RAI in Milan with the technical collaboration of Marino Zuccheri. These pieces are precious testimonials to Aldo Clementi’s intense and ongoing interest in electronic music in the 1960s. “Collage”, presents some of the most extreme musics ever issued by the label, at the same level as Robert Ashley's “Wolfm…

*In process of stocking. 2023 stock* "As a chamber music ensemble the saxophone quartet has a surprisingly long pedigree. The first work for it was written in 1857, less than twenty years after Adolphe Sax invented it, a Saxophone Quartette Club was founded in New York in 1879, and by 1896 a California Saxophone Quartet was on tour. While the modern saxophone quartet is now most likely to be associated with the jazz tradition, the standard ensemble of soprano, alto, tenor and baritone saxophones…

Aldo Clementi's works with guitar, the first complete CD devoted to them, played by Geoffrey Morris and the ELISION Ensemble: Serenata, Dodici Variazioni, Albumblatt, The Plaint and others, most of them first recordings.

We know the mantra all too well: If I love it, what can I do but repeat it? If I repeat it, what can I do but get bored with it? One answer might be (must be): to make out of its repetition something infinitely variable. This Clementi has done for the last twenty years. He has found a technician's answer to the familiar question of what to do, musically, with the compulsive nature of memory, the obstinate tenacity of the Proustian 'petite phase'. Beethoven and Brahms exorcised this power, this c…

Aldo Clementi's works for flutes, issued for his 75th birthday: Fantasia su roBErto FABbriCiAni, Ouverture for 12 flutes, Passacaglia, luCiAno BErio and Parafrasi 2, played by Roberto Fabbriciani with tapes restored by Alvise Vidolin.

Aldo Clementi marks out the distance with an absolute refusal to provide narratives, whether of tension resolved, or simply of that logically unending succession of states of being so dear to many of his contemporaries. His materials, whether gathered from a tonal past, generated as a jeu d'esprìt from the names of dedicatees, or produced by a purely abstract process, are projected into a rotational steady state that has no logical end or beginning. (David Osmond-Smith, 2005) On the occasion of …