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Aldo Clementi

Aldo Clementi (1925 – 2011) was an Italian contemporary classical composer. After receiving his diploma in 1954 again at the Conservatorio Santa Cecilia, he attended the Darmstadt summer courses from 1955 to 1962. In 1956 he met Bruno Maderna, who opened him to unknown horizons, marking a decisive turning point in his musical thought. He attended the Studio of Phonology in Milan from 1956 to ’62: this was another fundamentally important stage in his development

Aldo Clementi (1925 – 2011) was an Italian contemporary classical composer. After receiving his diploma in 1954 again at the Conservatorio Santa Cecilia, he attended the Darmstadt summer courses from 1955 to 1962. In 1956 he met Bruno Maderna, who opened him to unknown horizons, marking a decisive turning point in his musical thought. He attended the Studio of Phonology in Milan from 1956 to ’62: this was another fundamentally important stage in his development

Momento
“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…
Collage
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…
For Saxophones
*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…
Works with Guitar
Like his near contemporary Franco Donatoni, Aldo Clementi (b.1925) is an Italian composer who has had a very fruitful association with that most Italian of instruments, the guitar. Both Clementi and Donatoni shared similar paths in their compositional development: the early influences of major early 20th-century composers through the adoption and later rejection of serialism and the Darmstadt courses they both attended, culminating in their very individual mature styles. Clementi's recent pieces…
Madrigale
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…
Works With Flutes
The release of this CD celebrates Aldo Clementi’s 75th birthday in 2010. Clementi is one of the remaining living composers of the Italian avant-garde generation, which included Berio, Nono and Maderna. Clementi’s works for flute (including works for multiple flutes and flute with tape) are performed by one of his long-time collaborators, Roberto Fabbriciani – some of these works were written for or dedicated to him. Many of these works utilize Clementi’s signature explorations of the canno…
punctum contra punctum
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 …
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