last edited in April 2007     


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 his 80th birthday, Die Schachtel is proud to present "Punctum Contra Punctum", a deluxe compact disc box dedicated to Aldo Clementi, one of the most important figures of Italian music of the 20th Century. Born in Sicily in 1925, he studied piano and later composition under the guidance of teachers such as Goffredo Petrassi and Bruno Maderna, who also introduced him to electronic music at the RAI Studio of Phonology in Milan. Like many composers of the period, he employed serial technique early in his work, to abandon it later on in favor of a very personal, ingenious and unique method for creating new music. Blessed with extraordinary skills of invention and assimilation, Clementi may be the one living composer for whom "genius" is not too strong a word. His musical language is extremely articulate and profound, resulting in a fascination with obsessive repetitions, collages, canons, and incredibly complex rhythmic textures which have to be heard to be believed. At the same time his music maintains to stay fresh, dynamic and highly enjoyable. A must-have for all the modern music lovers, and a great discovery for the most adventourous and prepared listener

GENRE: 20th composers, avantgarde

Deluxe white and silver-foil design CD-box edition, complete with a lovingly
designed 64-page booklet in English and Italian.
PRICE: 20 euro

TRACKS (excerpts)
01 :: Concerto (1986) 18’20” - for piano and 14 instruments
02 :: GiAn(ca)rlo CArDini (1978) 5’28” - 7voices Madrigal for prepared piano
03 :: Fantasia su roBErto FABbriCiAni (1980/1) 17’15” - for flute + computer-gen. magnetic tape
04 :: Parafrasi (1981) 19’28” - for computer-manipulated voice




Aldo Clementi (Catania, 1925) began his piano studies at the age of thirteen, and received his diploma in 1946 under the guidance of Giovanna Ferro, a student of Alfredo Casella. In 1947, Clementi attended Pietro Scarpini’s piano master class in Siena.?At the age of sixteen he started studying composition in Catania, where he later became a pupil of Alfredo Sangiorgi (a student of Schoenberg in Vienna in 1922-23), who introduced him to the technique of twelve-tone composition (Catania-Bolzano 1945-1952). From 1952 to 1954 he studied and graduated in Rome under the guidance of Goffredo Petrassi. He attended the courses at Darmstadt from 1955 to 1962. His compositions Tre Studi for chamber orchestra (1956-57), Composizione n.1 for piano (1957) and Triplum (1960) were performed here for the first time. 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 1962: this was another fundamentally important stage in his development, and it was there that he composed Collage 2 (1960), Collage 3 (Dies Irae) (1967), and Collage 4 (Jesu, meine Freude) (1979). The first performance of one of his works took place in 1947 in Wien (Poesia di Rilke, 1946) with soprano Lydia Stix and pianist Erik Werba. The first important performance of a Clementi’s piece – after the completion of his studies in composition – was Cantata, set to a fragment by Calderon de la Barca (1954), broadcasted by the Hamburg Radio in 1956 as part of the cycle Das Neue Werk. In 1959 he won the second prize in the ISCM competition with Episodi (1958) and in 1963 he was awarded first prize in the same competition for Sette scene da “Collage” (1961). In 1961 Collage, a work based on visual material by Achille Perilli, was presented at the Accademia Filarmonica Romana in Rome. His opera Interludi. Musica per il Mito di Eco e Narciso was staged in 1992 during the “Orestiadi” Festival in Gibellina and won the 1992 Abbiati Prize. The Scala Theatre commissioned him a new opera, Carillon. From 1971 to 1992 he taught music theory at the University of Bologna (DAMS); he is often invited to give lectures and composition courses.






G. A. M. O. Gruppo Aperto Musica Oggi

a monographic concert dedicated to Aldo Clementi, held on October 14th, 1987 at the Sala Brunelleschi, Florence, in occasion of the 15th G.A.M.O. Festival.
Giancarlo Cardini, piano. Roberto Fabbriciani, flute. Liliana Poli, computer-manipulated voice. Gruppo Musica Contemporanea di Firenze - Conductor: Mario Ruffini- Recording realized by G.A.M.O. with the assistence of Diapason S.a.S. Sound engineer: Enrico Belluomini

Giancarlo Cardini studied in Florence, where he currently lives. His output as a composer includes works for orchestra, chamber music, instrumental solo pieces, incidental music (written for “I Magazzini” Theatre Company), audio-visual and acoustic micro-theatre compositions. Moreover, his book “Bolle di sapone” contains a collection of micro-poems and verbal scores centered on everyday perceptions, as well as the text of two mixed-media works. In recent years he has become increasingly interested in popular music, producing several pieces for piano, including various arrangements of 20th century songs by composers such as D’Anzi, Modugno, Bindi, Paoli, Tenco, Gershwin, Alter, Rodgers, Jobim. The score of the arrangements of Paoli and Tenco has been published by BMG Ricordi. As a pianist Cardini has premiered numerous compositions, concertizing with composers such as Cage, Feldman, Bussotti, Clementi, Daniele Lombardi, Luca Lombardi etc., and has toured extensively throughout Europe, in the U.S.A., Canada, Japan, India, Nepal and Egypt. Cardini has also a considerable recording history and has written widely on contemporary music in general (both “high brow” and “popular”). He has taught piano at the Florence Conservatory.


Born in Arezzo, Roberto Fabbriciani has opened up new dimensions to flute playing with his sensational virtuoso playing and innovative technical approach. He has played for the most important Festivals (Biennale di Venezia, Maggio Musicale Fiorentino, Paris, Bruxelles, Donaueschingen, Köln, München, Berlin, Edinburgh, London, Holland Festival, Music Biennale Zagreb, Warsaw, Grenada, Madrid, Luzern, Salzburg, Wien, Lockenhaus, St. Petersburg, Tokyo) and with prestigious Orchestras, such as the Orchestra of Teatro alla Scala in Milan, the Accademia of Santa Cecilia in Rome, RAI Orchestras, ECYO, London Sinfonietta, LSO, SWF Baden - Baden, RTL Luxenbourg, BRTN Brussel, Orchestre Symphonique de la Monnaie, WDR Köln, Deutsches Symphonie-Orchester Berlin, Bayerischer Rundfunks, Münchener Philharmoniker, and others. He is a passionate interpreter of the New Music and collaborated with composers such as L. Berio, S. Bussotti, P. Boulez, J. Cage, A. Clementi, L. de Pablo, F. Donatoni, B. Ferneyhough, J. Françaix, T. Hosokawa, E. Krenek, G. Kurtág, O. Messiaen, E. Morricone, L. Nono, G. Petrassi, W. Rihm, S. Sciarrino, K. Stockhausen, T. Takemitsu, I. Yun, who have dedicated to him some works among the most significant of the flute literature. He has also worked with Conductors such as C. Abbado, L. Berio, E. Bour, S. Comissiona, P. Eötvös, V. Fedoseyev, G. Gavazzeni, M. Gielen, C. Halffter, D. Kachidse, P. Maag, B. Maderna, I. Metzmacher, R. Muti, Z. Peskó, D. Shallon, G. Sinopoli, A. Tamayo, L. Zagrosek.


After a long career initiated at the Corso di Perfezionamento of the Teatro Comunale of Florence, today Liliana Poli is considered an “historical figure” of today’s music. She has been active both in the field of Opera and in symphonic and cameristic music, extending his repertoire – thanks also to her extraordinary musical and technical skills – to contemporary music. She has performed in the most prestigious theaters and festivals, such as the Teatro alla Scala in Milan, the Teatro Regio in Turin, the Maggio Musicale Fiorentino, and at the Berlin Philarmonic, in Wien, Hamburg, at the Holland Festival, in the most important European radiophonic studios, and in long tournées which brought her to Tokyo and New York and many other places. She sang with Boulez, Gielen, Bellugi, Sonzogno, Melles, Bour, Karajan. She has recorded numerous records and CDs. She is currently teaching at the annual Corso di Perfezionamento at the Music School of Scandicci, Florence.


Musicologist, conductor and composer, Ruffini has always devoted a specific attention both as scholar and interpreter to the work of Luigi Dallapiccola, and in general to the Twentieth century’s music. He owes his musical formation to Carlo Prosperi, Romano Pezzati, Piero Bellugi and Franco Ferrara, although it was mainly Laura Dallapiccola who radically influenced both his moral and intellectual education. In 1985 he founded the Gruppo Italiano of Contemporary Music, working with the Ricordi, Diapason, Editel Elettronica, Gimc, Stradivarius, Bongiovanni, Mondo Musica, and EMI labels, recording works by Xenakis (Medea Senecae), Bussotti (Nympheo, La Passion selon Sade and Intégrale Sade), Prosperi, Clementi, Bartolozzi, Benvenuti, Giani Luporini, Pezzati, De Angelis, Bucchi, and above all the first recordings of two Dallapiccola’s works (Piccola musica notturna and Tre Laudi). From 1990 to 1995 he was Resident Director at the “M.P. Musorgskij” Opera and Ballet Theatre in St. Petersburg, Russia. There he directed both operas (from the Italian repertoire) and concerts with the prestigious Leningrad Philarmonic (worthwhile mentioning the first Russian performance of Due Pezzi and Variazioni for orchestra by Dallapiccola). The concert he directed with the Empyrean Ensemble was judged by the “Sacramento Bee” musical reviewers the best one held in California in 2004. After he wrote the book “L’opera di Luigi Dallapiccola. Catalogo Ragionato” (published by Suvini Zerboni), he has been asked by the Kunsthistorisches Institut in Florenz Max-Planck-Institut to work on the studies on Music and Visual Arts (2002); he has been appointed Scientific Secretary for the celebration of the first Centenary of the birth of Luigi Dallapiccola (2004), and he is in charge of the “Fondo Carlo Prosperi” ?at the Archive “Alessandro Bonsanti” of the Gabinetto G.P. Vieusseux in Florence (2005).