vittorio gelmetti “organum quadruplum • ipotesi a • l'opera abbandonata” compact disc-recordable

• organum quadruplum «questo e ii gauo con gli stivali»(1967) (16:50)
  
• ipotesi a (1974) (4:35)
  
  
• l'opera abbandonata tace e volge la cavita' verso l'esterno (1969) (23:00)

creel pone press release...

this creel pone edition includes: 1 x crystal-clear re-sealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior 1 x double-sided professionally printed full-color semi-gloss photo-stock booklet 1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom anti-static cd sleeve vittorio gelmetti, born in milan in 1926, lives and works in rome. after having received musical education from childhood through adolescence, he completed his studies as an adult on his own, beginning his activity as composer only in 1954 when he wrote the concertino per pianoforte e' archi - a piece which he still considers valid. for some years he followed the path of apprentice in the domains of schoenberg, bartok, webern and late strawinski. from these years come «jeau de structures», musica per strumenti ad arco, quattro poesie di lorca, ecc.; from 1959 he began an intensive period in the field of pure electronic music (misure, tensioni, due studi, treni d'onda a modulazione di intensita) which tended, beginning with nous irons a tahiti (1965) to clear the way toward the area af collage. it is in the period of intersezioni i e ii (in memory of edgar varese) and organum quadruplum (1967) where the performer is reinstated now a constant element in his music. he is then attracted by musical theater (la descrittione del gran paese with texts by sanguineti is presented at the palermo festival in 1968) and here his musical language becomes stable in embracing « classical » elements (coming from pure electronic music), aleatoric elements (given to the performer) and finally those from preexisting musics (collage and stylistic imitation). such a melting pot of heterogeneus elements thrives in the prospect of a total « classnessness » of whatever stylistic stereotype. while being invited to partecipate in many festivals, realize works in noted studios and performed in many countries gelmetti remains basically an exceptionally independent composer far from the officialdom of music, avantguard and not. organum quadruplum «questo e ii gauo con gli stivali»(1967) is a composition which bring together a number of varied musical experiences: electronic music (witnessed in the long durations of the chorus and organ), collage technique (heard in the quotes « la montanara », « estate fortes », « salt peanuts » and « va pensiero » - some given to the chorus others recorded); the transformation of « concrete » or natural sounds (noises and radio disturbances) ; use of theater and film music (here heard in stylistic-like imitations). the occasion for this work was a concert of new choral music given at st. paul's american church in roma. the program also included pieces by allan bryant, alvin curran, giuseppe chiari, and frederic rzewski. this piece can be considered as a point of central importance in the development of the author's works as seen in the bringing together and melding of many elements of diverse origin - a predominant characteristic of the contemporary artistic experience. ipotesi a (1974) is a study for the opera « noll otterrete rispasta ». the use of a hunter's call (whistle), the piano with many references to the style of messiaen, and that of the percussion as repetitive rythmic element, here all tend to underline rather overused and burned out formulas and thus can be thought of as the final elements of a mixed language in expansion. l'opera abbandonata tace e volge la cavita' verso l'esterno (1969) is the most ambitious of the author's works for magnetic tape. its duration of 23 minutes unfold on there distinct levels: a strict electronic structure underlies the whole piece; a « collage » structure (material taken from radio broadcasts) ; and third level constructed of quetes from beethoven's op. 110, quotes treated differently than in the original such as the two chords from strawinski's symphony of the psalms, and wagner's famous tristan chord, finally quotes which are transformed or elaborated on as seen in the use of the finale of beethoven's opus 110. the title is taken from a phrase of adorno's from a text on the last sonatas of beethoven. the work itself dates from the fall of 1969 on a commission from the' experimental studio of the polish radio and at their invitation was realized in their studios. following the direction begun in « nous irons à tahiti » and again in the short opera « la descrittione del gran paese » this work furthers the development anc:l i,dea 0'f « music made from music" - analogaus, to what painting and literature have praticed for some time. english translation by alvin curran

pietro grossi “combinatoria” double compact disc set

• pietro grossi - pg4 - 1965 (excerpt) (10:42)
  
• pietro grossi - sp - 1965 (excerpt) (6:44)
  
• pietro grossi / s 2f m - om - 1966 (excerpt) (11:15)
  
• vittorio gelmetti - modulazioni per michelangelo - 1965 (8:34)
  
• riccardo andreoni - studio sugli impulsi - 1968 (excerpt) (6:38)
  
• albert mayr - proposta sonora viii" - 1968 (excerpt) (6:30)
  
• aurelio peruzzi - studio 1 - 1967 (4:23)
  
• smet - el 25 - 1966 (2:50)
  
• nps - interferenze 2 - 1967 (4:13)
  
  
• pietro grossi - create [a] (0:30)
  
• pietro grossi - sound life 24 (5:17)
  
• pietro grossi - fuga xii (1:34)
  
• pietro grossi - sound life 11 (2:10)
  
• pietro grossi - silencio (0:06)
  
• pietro grossi - sound life 17 (1:09)
  
• pietro grossi - fuga xii inversa (1:26)
  
• pietro grossi - arte della fuga elaborata (1:30)
  
• pietro grossi - combinatoria 1970 (3:44)
  
• pietro grossi - monodia 1970 (9:57)
  
• pietro grossi - create (2:08)
  
• pietro grossi - silenzio (0:06)
  
• pietro grossi - sound life 25 (0:56)
  
• pietro grossi - fuga xiii (1:36)
  
• pietro grossi - sound life 11 (2:51)
  
• pietro grossi - fuga xiii inv (1:39)
  
• pietro grossi - sound life 27 (1:45)
  
• pietro grossi - arte della fuga elaborata (1:33)
  
• pietro grossi - sound life 42 (6:38)
  
• pietro grossi - create (11:24)
  
• pietro grossi - variazioni su scarlatti sonata 119 (1:35)
  
• pietro grossi - sound life 11 (3:07)

die schachtel press release...

pietro grossi combinatoria genre: early electronic, tape music, early computer sounds format: cd box description: deluxe silver cd-box, silver-foil design, complete with a 28-pages booklet in italian and english a comprehensive guide to the core recordings of one of the most visionary and inspiring, subversive and radical musicians from italy, this 2-cd box deluxe edition captures pietro grossi’s original vision, presenting a wide selection of his studio early recordings, beautifully re-mastered to preserve the enduring quality. pietro grossi used to playfully define himself as pigro [lazy], but he wasn't lazy at all! few musicians have been working everyday at such a cracking pace, creating, teaching and writing, and when we listen to his music we should bear in mind how this complex figure of musician, cellist and composer, and also visual artist, has developed creative thinking in a path where a blend of very different aspects organically cohabited. since the late '50s grossi was convinced of the potential of the 'new sound' and was totally obsessed with pioneering it, to the point where he would found the s 2f m (studio di fonologia musicale di firenze) in 1963 -  which made its headquarters in florence at the conservatorio, and then in his apartment! - spending days and nights on end splicing tapes and working with various modified machines to create his abstract soundscapes. the two cds features his first analogical electronic music, as well as some s 2f m studio works by colleagues such as vittorio gelmetti, gruppo nps (with teresa rampazzi) and albert mayr, while the second disc is focused on the prototype computer generated sound synthesis.