Out of stock
4 CD + book
Walter MARCHETTI
“De musica inversa”
“alga marghen very proudly presents the only authorized reissue of all Walter Marchetti original recordings previously released by Cramps Records. An LP sized 4CD box set including “La caccia”, “In terram utopicam”, “Per la sete dell’orecchio”, “Natura morta” and “Vandalia”. Also included is the new book by Walter Marchetti titled “De musica inversa”, an instruction manual of both theory and practice for the proper and improper use of music. A method for perfecting oneself in composition annotated and commented upon by Gabriele Bonomo.
“The most amazing thing about music is its exterior aspect. High, vertical, translucent, almost turgid, maybe a bit too monolithic. One should, in any case, give a lot of attention to the large number of interstices which lead to the centre of the ear, wherefrom sounds spread out through a dense network leading to more circuits which direct these same and their relationships directly to the brain, in a logic of musical articulation which is nothing less than frightening. Even if, to attentive listening, dominating all is the eye of silence”.
CD1, titled “La caccia”, includes “La caccia” (1965), “Adversus” (Home-made electric music) (1966) and “Osmanthus fragrans” (Home-made electric music) (1973). The 16 page booklet presents the orginal scores, photos of both the 1965 ZAJ performances and of Marchetti recording “La caccia” in the 1970s, photos of the concert at Galleria Multhipla in 1974, and the reproduction of the original “La caccia” LP layout.
CD2, titled “In terram utopican”, includes “J’aimerais jouer avec un piano qui aurait une grosse queue” (1974/75) and “Per la sete dell’orecchio” (1981). The 16 page booklet presents the original score of “J’aimerais jouer”, photos of the performances in Milano and at the Venice Biennale, and the reproduction of the original “In terram utopicam” LP layout.
CD3, titled “Natura Morta”, includes the piece with the same title from 1980. The 8 page booklet reproduces original photos of the performance at Milanopoesia in 1988, as well as the text titled “In my music”.
CD4, titled “Vandalia”, includes “Perpetuum mobile” (1981), “Song for John Cage” (1985) and “Le secche del delirio” (1989). The 8 page booklet presents the photo of the “Perpetuum mobile” performance at Musicalia in 1981, the score of “Song for John Cage”, the photos of two “Musica da camera” installations, as well as the reproduction of the original “Vandalia” CD layout.
The 180 page “De musica inversa” book and all the texts included in the CD booklets are published in both English and Italian. “Too true: in all music there are, in effect, a lot of sounds henceforth... more than that, too many; everything that we listen to has become heavy beyond measure, completely unbearable. Rather than chasing it we should look for how to escape from music. Everything in it is monolithic, frozen, and the notes of music which slowly, more or less, are thickening around the listeners wrap them all in dripping blankets of death.” CD edition limited to 400 copies.” label info
“The most amazing thing about music is its exterior aspect. High, vertical, translucent, almost turgid, maybe a bit too monolithic. One should, in any case, give a lot of attention to the large number of interstices which lead to the centre of the ear, wherefrom sounds spread out through a dense network leading to more circuits which direct these same and their relationships directly to the brain, in a logic of musical articulation which is nothing less than frightening. Even if, to attentive listening, dominating all is the eye of silence”.
CD1, titled “La caccia”, includes “La caccia” (1965), “Adversus” (Home-made electric music) (1966) and “Osmanthus fragrans” (Home-made electric music) (1973). The 16 page booklet presents the orginal scores, photos of both the 1965 ZAJ performances and of Marchetti recording “La caccia” in the 1970s, photos of the concert at Galleria Multhipla in 1974, and the reproduction of the original “La caccia” LP layout.
CD2, titled “In terram utopican”, includes “J’aimerais jouer avec un piano qui aurait une grosse queue” (1974/75) and “Per la sete dell’orecchio” (1981). The 16 page booklet presents the original score of “J’aimerais jouer”, photos of the performances in Milano and at the Venice Biennale, and the reproduction of the original “In terram utopicam” LP layout.
CD3, titled “Natura Morta”, includes the piece with the same title from 1980. The 8 page booklet reproduces original photos of the performance at Milanopoesia in 1988, as well as the text titled “In my music”.
CD4, titled “Vandalia”, includes “Perpetuum mobile” (1981), “Song for John Cage” (1985) and “Le secche del delirio” (1989). The 8 page booklet presents the photo of the “Perpetuum mobile” performance at Musicalia in 1981, the score of “Song for John Cage”, the photos of two “Musica da camera” installations, as well as the reproduction of the original “Vandalia” CD layout.
The 180 page “De musica inversa” book and all the texts included in the CD booklets are published in both English and Italian. “Too true: in all music there are, in effect, a lot of sounds henceforth... more than that, too many; everything that we listen to has become heavy beyond measure, completely unbearable. Rather than chasing it we should look for how to escape from music. Everything in it is monolithic, frozen, and the notes of music which slowly, more or less, are thickening around the listeners wrap them all in dripping blankets of death.” CD edition limited to 400 copies.” label info
80,00€
In stock
CD
Walter MARCHETTI
“Concerto per la mano sinistra in un solo movimento”
The “Concerto for the left hand in one movement”, for piano, is the last unpublished composition of Walter Marchetti to be performed in public before the death of the author on May 12, 2015.
Performed by Reinier van Houdt, piano.
Composed in 1994, the “Concerto for the left hand” belongs to an ongoing series of works written between 1994 and 1997: “Con vista sui suoni”, “Eight or Nine Movements for String Quartet” and “La perdita del tempo” which develop from a preceding composition titled “Canonic Variations for Orchestra on Prolapsed Time From Development to Hiccup of Black Cherry Jam”. In these works Marchetti made a systematic and assertive return to conventional music notation, even while not excluding performative and installative practice and the use of pre-recorded “concrète” sounds which from the 60s had been his privileged field-of-action. A modality shared principally within the exquisitely iconoclast and desacratory activities of the ZAJ group.
What was particularly interesting to Marchetti in this recourse to musical writing is weakening the meaning of the rigid normative apparatus of a musical score with the purpose of annihilating the factual potential of his system of prescriptions.
The title alone is used to hide a paradox where the notes to the performer intervene to subvert the following paradigm: “The pianist is obliged to hold a black umbrella opened over his head in his left hand during the whole performance of this concerto”. From here the performer is confronted with two conceptually convergent possibilities in de-potentializing the apparatus of signs in the score: the restrictive imposition of the paradox where the music couldn’t manifest itself in case of respecting to the letter the enunciation which lead to the impossibility of the music’s ‘existence’ (i.e., the obligation of holding an open black umbrella in the same hand) or rather, transgressing this encumbrance, the implicit possibility of playing the score with the right hand and, definitively, the condition of the music subjected to its own manifestation to no longer be able to coincide with its own realization: “a magic made free from the lie of being truth”.
Limited to 300 copies.
CD in digipak sleeve with a full-colour booklet including photos as well as liner notes by Gabriele Bonomo.
Performed by Reinier van Houdt, piano.
Composed in 1994, the “Concerto for the left hand” belongs to an ongoing series of works written between 1994 and 1997: “Con vista sui suoni”, “Eight or Nine Movements for String Quartet” and “La perdita del tempo” which develop from a preceding composition titled “Canonic Variations for Orchestra on Prolapsed Time From Development to Hiccup of Black Cherry Jam”. In these works Marchetti made a systematic and assertive return to conventional music notation, even while not excluding performative and installative practice and the use of pre-recorded “concrète” sounds which from the 60s had been his privileged field-of-action. A modality shared principally within the exquisitely iconoclast and desacratory activities of the ZAJ group.
What was particularly interesting to Marchetti in this recourse to musical writing is weakening the meaning of the rigid normative apparatus of a musical score with the purpose of annihilating the factual potential of his system of prescriptions.
The title alone is used to hide a paradox where the notes to the performer intervene to subvert the following paradigm: “The pianist is obliged to hold a black umbrella opened over his head in his left hand during the whole performance of this concerto”. From here the performer is confronted with two conceptually convergent possibilities in de-potentializing the apparatus of signs in the score: the restrictive imposition of the paradox where the music couldn’t manifest itself in case of respecting to the letter the enunciation which lead to the impossibility of the music’s ‘existence’ (i.e., the obligation of holding an open black umbrella in the same hand) or rather, transgressing this encumbrance, the implicit possibility of playing the score with the right hand and, definitively, the condition of the music subjected to its own manifestation to no longer be able to coincide with its own realization: “a magic made free from the lie of being truth”.
Limited to 300 copies.
CD in digipak sleeve with a full-colour booklet including photos as well as liner notes by Gabriele Bonomo.
15,00€
Out of stock
CD
Walter MARCHETTI
“Vandalia”
“alga marghen very proudly presents the only authorized reissue of all Walter Marchetti original recordings previously released by Cramps Records. With “Vandalia” Walter Marchetti is focusing his concrete and radical themes. Also including an homage to John Cage. Action Music! “Vandalia”, includes “Perpetuum mobile” (1981), “Song for John Cage” (1985) and “Le secche del delirio” (1989). The 8 page booklet presents the photo of the “Perpetuum mobile” performance at Musicalia in 1981, the score of “Song for John Cage”, the photos of two “Musica da camera” installations, as well as the reproduction of the original “Vandalia” CD layout. All texts are published both in English and Italian. First included in an LP sized 4CD box set together with other 3 CDs titled “La caccia”, “In terram utopicam” and “Natura morta”, plus the new book by Walter Marchetti titled “De musica inversa”, an instruction manual of both theory and practice for the proper and improper use of music, this CD is also available now, separately from the complete box set, in a very limited number of copies.” label info
15,00€
Out of stock
CD
Walter MARCHETTI
“Natura morta”
“alga marghen very proudly presents the only authorized reissue of all Walter Marchetti original recordings previously released by Cramps Records. “A very simple sequence of piano accidents, according to Robert Ashley the one of the most beautiful piano music ever recorded. “Natura Morta”, includes the piece with the same title from 1980. The 8 page booklet reproduces original photos of the performance at Milanopoesia in 1988, as well as the text titled “In my music”. All texts are published both in English and Italian.
First included in an LP sized 4CD box set together with other 3 CDs titled “La caccia”, “In terram utopicam” and “Vandalia”, plus the new book by Walter Marchetti titled “De musica inversa”, an instruction manual of both theory and practice for the proper and improper use of music, this CD is also available now, separately from the complete box set, in a very limited number of copies.” label info
First included in an LP sized 4CD box set together with other 3 CDs titled “La caccia”, “In terram utopicam” and “Vandalia”, plus the new book by Walter Marchetti titled “De musica inversa”, an instruction manual of both theory and practice for the proper and improper use of music, this CD is also available now, separately from the complete box set, in a very limited number of copies.” label info
15,00€
Out of stock
CD
Walter MARCHETTI
“In terram utopicam”
“alga marghen very proudly presents the only authorized reissue of all Walter Marchetti original recordings previously released by Cramps Records. Walter Marchetti is one of the most original and controversial pre-Fluxus authors. In this work he frees all of his sophisticated poeticism. “In terram utopican”, includes “J’aimerais jouer avec un piano qui aurait une grosse queue” (1974/75) and “Per la sete dell’orecchio” (1981). The 16 page booklet presents the original score of “J’aimerais jouer”, photos of the performances in Milano and at the Venice Biennale, and the reproduction of the original “In terram utopicam” LP layout. All texts are published both in English and Italian. First included in an LP sized 4CD box set together with other 3 CDs titled “La caccia”, “Natura morta” and “Vandalia”, plus the new book by Walter Marchetti titled “De musica inversa”, an instruction manual of both theory and practice for the proper and improper use of music, this CD is also available now, separately from the complete box set, in a very limited number of copies.” label info
15,00€
Out of stock
2 CD
Walter MARCHETTI
“Utopia andata e ritorno”
“Music: the foundation of that presence in which we find ourselves shows itself as pure negatin. Everyting is founded on a demonstration of its own negativity: as awareness of its being negative, and does not look for an escape into a future presence, that is an objective future. But, accepting its negativity, makes of this self-negation the real act, the true reality - the true foundation, the real and actual continuity: this is music’s sense.
"Utopia andata e ritorno" is the title of the new composition by Walter Marchetti, recorded in MIlano in 2005. It has two parts, each one CD long. The first part, "L’andata", puts together two former recordings of Marchetti. The recording of a real storm and a recital for solo piano. This is not the first time that Marchetti mixes a piano solo recital with the recording of a natural live event, thus creating a "piano concert". The second CD, "Il ritorno", reverses the direction of the first record and literally destroys itself.
In the first part of this work, Marchetti puts music successfully in the place it has to have today: on the road to renewal in contact with reality, a reality that is a synonym for vacuity, that is the interdependence of phenomena, music, reality, technology. There is nothing mimetic or anecdotical in this work. The storm is a real storm and the solo piano recital is a modern work of pure music, without the excesses that the society expects of a piano recital from composer and virtuoso player. Pure music, in the best sense of the word. "L’andata" is one of the great works of music of our time, or, as José Luis Castillejo remarked, "it may be the best modern piano concert since Brahms".
In the second part, "Il ritorno", sound waves are deformed when one tries a reverse hearing and the turn around trip becomes an aural nightmare. Of course, avant-gardism has made us accustomed to noises and silences and to the arbitrary idea that anything is music. "Il ritorno" announcs the end of musical avant-gardism and its technocratic aspirations. It points the end of music avant-gardism because it exposes the technological manipulation not only of technology beyond its powers, but also the manipulation of both music and sound. "Il ritorno" is such a problematic work also because its subject is failure and impossibility.
Three-folded digipack 2CD edition. It includes a 32 pges booklet with essays by Water Marchetti, Gabriele Bonomo and José Luis Castillejo. First edition limited to 500 copies.”
"Utopia andata e ritorno" is the title of the new composition by Walter Marchetti, recorded in MIlano in 2005. It has two parts, each one CD long. The first part, "L’andata", puts together two former recordings of Marchetti. The recording of a real storm and a recital for solo piano. This is not the first time that Marchetti mixes a piano solo recital with the recording of a natural live event, thus creating a "piano concert". The second CD, "Il ritorno", reverses the direction of the first record and literally destroys itself.
In the first part of this work, Marchetti puts music successfully in the place it has to have today: on the road to renewal in contact with reality, a reality that is a synonym for vacuity, that is the interdependence of phenomena, music, reality, technology. There is nothing mimetic or anecdotical in this work. The storm is a real storm and the solo piano recital is a modern work of pure music, without the excesses that the society expects of a piano recital from composer and virtuoso player. Pure music, in the best sense of the word. "L’andata" is one of the great works of music of our time, or, as José Luis Castillejo remarked, "it may be the best modern piano concert since Brahms".
In the second part, "Il ritorno", sound waves are deformed when one tries a reverse hearing and the turn around trip becomes an aural nightmare. Of course, avant-gardism has made us accustomed to noises and silences and to the arbitrary idea that anything is music. "Il ritorno" announcs the end of musical avant-gardism and its technocratic aspirations. It points the end of music avant-gardism because it exposes the technological manipulation not only of technology beyond its powers, but also the manipulation of both music and sound. "Il ritorno" is such a problematic work also because its subject is failure and impossibility.
Three-folded digipack 2CD edition. It includes a 32 pges booklet with essays by Water Marchetti, Gabriele Bonomo and José Luis Castillejo. First edition limited to 500 copies.”
20,00€