updated 21 February 2019
© Mario Clementi

Aldo Clementi

Italian composer born 25 May 1925 in Catania; died 3 March 2011 in Rome.

Aldo Clementi was born in Catania, Italy, on 25 May 1925, to a family of doctors and amateur musicians. Clementi’s grandfather, promised Theodor Billroth, a Viennese surgeon and friend of Brahms, for whom he worked as an assistant, that his children would study music, and Clementi’s father, an amateur violinist, played Schubert, Mendelssohn, and Schumann. Aldo Clementi began studying piano and learned to read music at the age of thirteen and received his diploma in 1946, having studied with Giovanna Ferro, a student of Alfredo Casella. In 1947, in Siena, Clementi took master classes with Pietro Scarpini, a celebrated perfomer of Bach and part of the Vienna School, with Busoni, and with Dallapiccola. In parallel, in 1941, he began studying composition with the composer and conductor Gianni Buccèri, then with Giovanni Pennacchio, the conductor of the Catania marching band. Between 1945 and 1952, in Catania and in Bolzano, Clementi was the student of Alfredo Sangiorgi, who had studied with Schoenberg in Vienna in 1922-1923, where he learned twelve-tone composition. The first performance of one of Clementi’s works, Poesia di Rilke took place in 1947 in Vienna with soprano Lydia Stix and pianist Erik Werba.

In 1952, Clementi moved to Rome, where he studied with Goffredo Petrassi at the Conservatorio Santa Cecilia, graduating in 1954. From 1955 to 1962, he participated in the Darmstadt Summer Courses, where three of his compositions premiered: Tre studi for ensemble (1956-1957), Composizione n. 1 for piano (1957), and Triplum for flute, oboe, and clarinet (1960). His Cantata for narrator, soprano, choir, and ensemble, based on a fragment by Pedro Calderón de la Barca (1954), was broadcast by Radio Hamburg in 1956 as part of its Das neue Werk series. Shortly before, in 1955, Clementi met Bruno Maderna, which would be a decisive encounter for him. He, Luciano Berio, and Luigi Nono collaborated with Clementi at the RAI Studio of Phonology in Milan, where he created Collage 2 (1960), Collage 3 (Dies Irae) (1967), and the azione mimo-visiva Collage 4 (Jesu, meine Freude) (1979).

In 1961, Collage (1961), a work based on an argument and visual material by Achille Perilli, was presented at the Accademia Filarmonica Romana in Rome. In the early 1960s, Clementi was one of the founding members of Nuova Consonanza in Rome, along with, notably, Mauro Bortolotti, Franco Evangelisti, Domenico Guaccero, and Francesco Pennisi.

Clementi taught music theory and composition at the Conservatorio Statale di Musica Gioachino Rossini in Pesaro (1967-1973), at the Conservatorio Giuseppe Verdi in Milan (1973-1975), and at the Conservatoiro Giovanni Battista Martini in Bologna (1975-1979) before becoming a professor of music theory in the DAMS (Discipline delle Arti della Musica e dello Spettacolo) program of the University of Bologna, a position he held from 1971 to 1992. He was a frequent guest lecturer at institutions in Italy and around the world. His music is still regularly performed and broadcast, and his compositions were commissioned by many prestigious Italian institutions, including the Teatro alla Scala de Milan, the Venice Biennale, and the Accademia Nazionale di Santa Cecilia in Rome.

In 1992, Clementi’s opera Interludi. Musica per il mito di Eco e Narciso (1992) for twelve vocalists and twenty-four wind instruments, with his own libretto, was performed during the Orestiadi Festival in Gibellina. Another opera, Carillon, in one act, after Hofmannstahl’s Difficult Gentleman, premiered in concert in Venice on 28 September 1996.

En 1995, Clementi received a DAAD fellowship to spend the semester in Berlin, where he composed Sei momenti (1996) for six instruments. In 2005, in honor of his eightieth birthday, the University of Catania organized an international conference on his music and presented him with an honorary doctorate; during the Festival Pontino di Musica, the Incontri Internazionali di Musica Contemporanea organized two concerts devoted to his work, a round table, and the first ever retrospective of his graphic art; during the Festival Suoni e Colori in Toscana (Rignano sull’Arno), the composer received the Prize of the President of the Italian Republic; and the University of Bologna awarded him the DAMS Special Prize for lifetime achievement.

Clementi, in addition to these honors, received a great deal of recognition throughout his career: he won second prize in the ISCM Competition in 1959 for Episodi for orchestra (1958) and first prize in 1963 for Sette scene for ensemble (1963)n as well as the Franco Abbiati Prize (a prize established by Italian music critics) in 1992 for Interludi (1992). In 2006n he was named honorary director of the Istituto Musicale Vincenzo Bellini in Catania. A concert cycle dedicated to him was performed in Oslo in 2009 during the Ultima Festival. Aldo Clementi died in Rome on 3 March 2011.


© Ircam-Centre Pompidou, 2018

By Laurent Feneyrou

Aldo Clementi participates in the movement beyond serialism called Informalism, and his version is less philosophical — Adornian, in his case — than pictorial. His approach is negative: he aims to neutralize the interval by means of dense frameworks, textures, and polyphony made from counterpoint, canons, and chimes. His musical language culminates in the suspension of form, with neither beginning nor end, in an inconclusive continuum. The result is illusory, inert masses of sound: aphasic, magmatic testaments of both a horror vacui and an a contrario creation. In his works, the organic, the human, beauty, and even art are experienced as lost paradise. We can cite the following statement from Clementi, with its echoes of Beckett: “Music (and art in general) must simply have the humble duty of describing its own end, or at least its slow extinction.”1 In other words, it is about finding a way to stop.

Clementi’s work can be divided into four periods.

Magic squares

The first period, up until 1960, is Webernian, serial, structural, and marked by strong timbres, and it builds upon Bruno Maderna’s technique of permutations. In these works, such as Tre studi (1956-1957, for ensemble), Clementi subdivides his base materials into a few sounds that he subjects to a circular counterpoint determined by a numerical matrix. He writes them on graph paper in magic squares, which helps him to change the horizontal, vertical, and diagonal order, continuously altering the material. “It was like finding an intermediate stage between the brain and the note. The notes are put down at the last moment as a pragmatic fact, a formality.”2 The magic square represents the first transposition of a visual, figural, plastic — rather than speculative — dimension into a sound space, with the graphics resolving the aporias of the composition. The Tre studi alternate strata, statics, figures, and tensions. Next, Composizione n. 1 (1957, for piano), creates a sophisticated system of accelerations and decelerations, within which duration is a horizontal projection of pitch.

Ideogrammi n. 1 (1959, for sixteen instruments) and Ideogrammi n. 2 (1959, for flute and seventeen instruments), in their very title, reflect an attention to the relationship between sound and sign. In an almost disembodied language stripped of psychological value, with the impassive and anonymous objectivity of a robot, with an instrumentation as white, transparent, and cold as the rest of the project, “silences are understood as ‘solid’ elements of construction … They are also ‘contrary’ relatives of the chords, as ‘silent dilation’ of an ‘audible contraction.’”3 For these silences, inherited from Anton Webern and which Clementi considered were opposed to Schoenberg’s linearity, he gradually substitutes strata, agglomerates, clusters of notes, zones of density, and other frameworks within which the sounds condense and, alternately, dilute in a creative and destructive dense polyphony. In 1960, following Zeitmasse by Karlheinz Stockhausen, Clementi’s trio Triplum, still using graphic staff notation and through counterpoint alone, eliminates any residue of melody.

Staged on 14 May 1961 at the Teatro Eliseo in Rome, Collage, an artistic “action” (“un’azione dell’arte”) in one act, marks a turning point.4 It is an abstract mechanical ballet with neither actor nor dancer. It has no characters, in fact, only objects and machines. The piece draws inspiration from the alchemic notion that matter transformed into the homunculus, representing the birth of man, who is then integrated into the world around him before being annihilated and sent back to his inanimate origin. The title, Collage, is the work’s program: it is neither happening, nor Gesamtkunstwerk, nor synesthetic union of the arts, but rather sounds, movements, mobiles (in the wake of the artist Alexander Calder), magic lanterns, projections, films, mannequins, inflatable structures, and more. This co-presence of autonomous materials, this scenic Merz borrowed from Dada artist Kurt Schwitters, rejects parallels, descriptions, and narrations, in quest of a non-relation between the events. Yet, Clementi concedes, “it is not as simple as one would think not to set in relation.”5 Far from being an immutable Eden, the materials must be mobile so they can enter the fundamental dimension of music: time. In return, the visual dimension is an integral part of the composition: music for the eyes, like the objects arranged on an invisible canvas that Clementi perceives in the work of his teacher Goffredo Petrassi.

Informal

In 1961, after Clementi attends a course given by Stockhausen in Darmstadt, a new period commences. This second, “informal” period, extending to 1964, takes its name from three works: Informel n. 1 (1961, for piano and percussion), Informel n. 2 (1962, for ensemble), and Informel n. 3 (1961-1963, for orchestra). The period is a musical echo of the contemporaneous painting lexicons by Antoni Tàpies, Alberto Burri, and Jean Fautrier, who replace geometric structures with piles of matter, cutting them, covering them, pulling them apart. Shattering the serial logic, Clementi establishes a chromatic, amorphous continuum, a cluster, immobile but within its contours constantly changing through counterpoint and internal canons. He calls this effect “static matterism.” The pieces are often scored on a single page that describes the musical resources and rules for their usage. That single sheet sometimes takes huge dimensions, as for Informel n. 3, which consists of seventy-two parts (twelve woodwind, twelve brass, forty-eight divided strings).

From these vortexes follow three points:

First, Clementi removes the dialectic brought by the interval. Interval-level detail is no longer audible, as the polyphony annihilates all notion of melody, dynamic, and accentuated rhythm. He achieves this dissipation “by a very dense counterpoint and by regulating the parts to the shameful role of cadaverous and inaudible micro-organisms.”6 Clementi’s writing does not, however, exclude rationality. He involves rigorous counterpoint and canons. But the densities and textures turn out to be inhuman; they are created through automatism, and the listener becomes unable to anticipate the flow of sounds. As the game of imitation and of out-of-phase repetition is removed from the experience of listening, the tyranny of memory disappears — and the creator loses a little of his metaphysical aura.

Second, Clementi eradicates contrasts in dynamics, registers, timbres, and more, as well as caesuras and relations between parts, sections, or episodes. He radically flattens oppositions and tensions, which would only perpetuate the principles of sonata form. As he explained,

Every work is born from a unique original matrix, small, but like a sort of growing skein. There is no before and after, there is no acme, there is not something that grows toward the center and shrinks toward the end. … The form does not contain episodes, because the episode fractions, cuts up the detail, makes it appear as an ensemble of details. For me, each work is really like a single detail. … The macroform is at the same time a microform, as it comes from the enlarging of a small microform.7

The density, thickness, and transparency of the polyphony become the fundamental essence of the music. The form takes on a multipolar quality and becomes a “multidirectional phenomenon.” Informel n. 2 is thus lush counterpoint on a varied cluster, interrupted ad libitum by four insertions.

Third, Clementi suspends time. The absence of rhythmic, even metric, scansion, as well as the unchanging dynamics and timbres, accentuates stasis. The resulting blocks seem to have been extracted from a now shattered totality. Influenced notably by Mark Tobey, Clementi’s counterpoints and canons flow easily, but without arch or telos. They may, however, develop holes at certain points, as Clementi introduces foreign elements. Their sphericity transforms the music into a sonic object whose character is less temporal than spatial (lines ascend or descend only visually on the score). Its end is not defined a priori but results passively from the saturation that he creates: “The end of the piece should develop by its own force, by entropy, by saturation. At this moment, the composer becomes a spectator, who simply notes that the piece has finished, without directly intervening.”8 Death by hypertrophy.

Optical Music

After Variante A and Variante B (1963-1964, for choir plus orchestra and for thirty-six instruments, respectively9), Clementi’s informal period transitions into the third period known as “a-formal optical,” which extended from 1966 to 1970. This era, influenced by optical art and the paintings of Piero Dorazio and Victor Vasarely, reached its full expression in the Reticoli cycle (1966-1970…). The polyphony, in radical rejection of metronomic time, of articulation, or of anything that would be recognizable and memorable as such, generates a thick, compact continuum of strata, whose evolution listeners are incapable of following. Each voice, each line, is inexorably smothered and alienated, as is an individual in an administrative, bureaucratic society. Moving away from the static matterism of the preceding phase, contrapuntal and canonic structures persist in the optical phase. They continue to create not individualization but a chaos of indistinct elements.

Art and music die through saturation. So, you either have the courage to be quiet or you continue to do things … that express precisely the agony and dissolution of the created object. There is no contradiction between a pessimistic, or apocalyptic, vision of the future of art, and the rigor of carefully assembling notes together, a desire to continue a precious musical craft.10

A negative music exasperates, dissolving concept and rationality, but with the means of the ratio. Influenced by Adorno, Clementi’s craft-like approach denies everything except itself. Otherwise, it would amount to absolute nihilism.

Polydiatonism

With the tumult of the 1970s, Clementi reintroduces diatonicism into his counterpoint and canons.11 This fourth phase, beginning from 1970, is based upon five types of material:

a) motifs that are the musical transcription of the names of Bach (B-flat, A, C, B-natural)12 and other composers (Berio, Cage, Maderna, Schnebel, Petrassi, Togni, Webern…) or performers (Roberto Fabbricciani, Georg Moench…). The works’ titles reveal this motif in capital letters, as in GiAn(ca)rlo CArDini (1978, a seven-voice canon for prepared piano), which uses the tones G, A, C, A, D. Some of the letters in the names are omitted for musical reasons;

b) abstract, neutral scales (such as hexachords, “zig-zags,” and others), re-conceived based on Classical-Romantic principals, that split the ambitus of the work into sections, symmetrical or otherwise, and into dynamics;

c) quotations from old masters such as Dufay, Mouton, Michelangelo Galilei, Purcell, Bach, Mozart, Schubert, Chopin, Schumann, Offenbach, Johann Strauss, Brahms, Tchaikovsky, Ravel, De Falla, Stravinsky, Gershwin, and others, right up to the jazz of Thelonious Monk;

d) anonymous themes, such as the Seikilos epitaph, Gregorian chants, troubadour songs, or even Swedish folk melodies;

e) chorales and titles that allude to musical genres from the past: madrigal, concerto, intermezzo, capriccio, scherzo, fantasia, passacaglia, impromptu, romanza, rhapsody… As Gianluigi Mattietti wrote about Clementi’s last period,

The choice of starting material, which in the last period becomes the piece’s theme, immediately represents a precise compositional act, because it brings into play melodic, rhythmic, and harmonic forces, which then determine the polyphonic content of the piece.13

From meaningful and well-loved found objects, nostalgic ruins of a once organic, utopian totality, Clementi generates a wealth of scores for a variety of forces, from solo pieces to large orchestral and vocal music.

The use of diatonicism does not change Clementi’s relationship to polyphony, which he still uses to make sound wefts. However, he lightens the texture, simplifies his counterpoints and canons, and reduces his use of mirror-like mensural forms. He described his tools: “Technique still contrapuntal and canonic: the diatonic module [is] a piece of the mosaic: [there are] fewer than twelve notes, but more possibilities for building with the four specular forms plus the same modules.”14 Those four base forms are the prime, retrograde, inversion, and retrograde inversion; in addition, there is transposition. Diatonic structures are not denatured by these mirrors: the inversion of a major chord is a minor chord, and vice versa. Only exceptionally does Clementi introduce chromaticism. His “polytonality,” moreover, is not harmonic, but contrapuntal. He thus coined the term polydiatonicism (polidiatonismo) to refer to chromaticism built up via counterpoint, where diatonic (or modal) structures are added and duration, intensity, and timbre vary gradually and imperceptibly. Clementi gradates these structures, revealing partially intelligible fragments of tonalities, melodies, and rhythms.

Densifications and rarefactions, in this case thicker or thinner textures, no longer affect only individual lines but also blocks of sound. This is notably the case in Komm süsser Tod (1983, for twelve instruments), where Clementi borrows the theme and continuo line from Bach’s religious lied in C minor, BWV 478, and introduces an intermediate voice. The result is a three-voice polyphony, mirrored in canon through the four fundamental transformations. In a similar way, he creates a canon of three canons in Romanza (1991, for piano and orchestra).

Starting with Intermezzo (1977, for fourteen wind instruments and prepared piano), the vertical polyphony of changing pitches and densities is doubled by a horizontal, temporal polyphony with systematic rallentandos. Slackening effects, created by rhythmic augmentation, denote extinction, underlined by diminuendos. Such a metamorphosis competes against the growing size of a sonic object. The metamorphosis is evident in the echo, out-of-phase repetition of themes or blocks of themes, and in the chimes, whose mechanical effect and nostalgic character Clementi highlights. The metamorphosis is also evident in the imperceptible deceleration, through metronomic values as much as through a play of mensural rhythms.

Clementi’s writing at times recalls the illusions and paradoxical architecture of Maurits Cornelis Escher, translated acoustically by systems of rotation, by imperceptible accelerations and decelerations, and especially by grids of elements that descend chromatically on the diagonal, while the line climbs horizontally. An example is Passacaglia (1988, for live and recorded flute), which is based on twelve borrowed fragments: four from Bach’s Sonata BWV 1030, four from Mozart’s Concerto K. 314, and four from Schubert’s Introduction and variations D. 820. The musicologist Gianluigi Mattietti established other parallels between Escher and Clementi after reading Gödel, Escher, Bach: An Eternal Golden Braid by Douglas R. Hofstadter.15 Among these parallels are rhythmic phase shifts, between a series of colors and a series of figures with a different rhythm, and translations, reflections, or rotations of figures, to which variable sizes can be attributed within a regular division of the plane.

To conclude, let us now comment upon two stage works from this fourth phase.

ES (1978-1980) is a rondeau in one act, whose title refers to the Freudian concept of id. The music recalls operetta, the waltzes of Johann Strauss, and light music, which Clementi considered, like Karl Klaus before him, as the most faithful imitation of reality. The work stars three feminine characters, in a distant echo of Baroque, if not Classical, opera: the secretary Tuni is gentle, childlike, and neurotic, a sort of Zerlina from Mozart’s Don Giovanni. The artist Mina is passionate, hysterical, and cruel, in the image of Donna Elvira. And the housewife Rica is pretty, saccharine, and moody, a descendant of Donna Anna. Like Sisyphus, these women are prisoners to the absurd repetition of their daily lives, but also to their desires. Symbolized by a shadow or a silhouette, Don Giovanni is the absence toward which their futile expectations converge. The figure from Mozart takes on an air of Samuel Beckett’s Godot. Furthermore, each feminine character has two alter egos: “Three women, nine real reflections, and innumerable virtual reflections are rendered by a complex game of mirrors.”16 Their voices employ four types of emission: song, Sprechgesang, speech, and laughter. Musical material comes from Johann Crüger’s Lutheran chorus Jesu, meine Freude, which Clementi had earlier also used in Variazioni (197917), in Capriccio (1980), and in Collage 4 (Jesu, meine Freude) (1979-198018). In ES, each of the six verses forms the base for one of the six sections of the rondeau, which repeats the same structure six times: scene–dance–lullaby. The scenes gradually slow in a canonical continuum, and the lullabies are essentially static instrumental interludes. Adopting a stable tempo, the dances (valse brillante, polka, blues, slow waltz, galop, mazurka, march, tango, and swing) break with those models.

Clementi bases Carillon (1991-1993), opera in one act, upon a play by Hugo von Hofmannsthal, The Difficult Man. Over the course of an evening, Count Hans Karl Bühl, the nonchalant, somewhat deadpan but charming anti-hero, a mirror-image of Don Giovanni in ES, dialogues with Viennese socialites. Those six characters each have an alter ego, splitting the self and creating a new double: these are represented by twelve performers, six facing six others, like puppets. Each is associated with two instruments or groups of instruments, winds or strings, in an almost geometrical organization of the cast. As the piece unfolds, the text is reduced to a round of fragments and creates the illusion of a conversation full of ellipses. It reveals the vanity of the word, just as music refuses to be language, expression, communication, or articulated discourse. This music is based upon two parlor pieces: Souvenir by František Drdla and A Musical Snuffbox by Anatoly Lyadov (which Clementi had used earlier in Madrigale [1979], for prepared piano for four hands, with recorded glockenspiel and vibraphone, and in Concerto 2E2M [1982], for sixteen instruments). Carillon is a canon of canons, a polymetric layering of six canons in four parts and in unison. It thus involves twenty-four voices. The work introduces six sung dances, in pairs (two waltzes, a foxtrot + ragtime, and a tango + slow blues) connected by their tonalities (D-flat, A-flat, and G), and three interludes. The transitions are far less perceptible compared to the caesurae of ES.

These dramatic works provide visual, onstage evidence of Clementi’s circular, closed structures and sonic processes that remain simultaneously in perpetual movement and at tragic standstill.


Translated from the French by Ruth Oldham


1. Aldo CLEMENTI, “Commento alla propria musica” (1973), in Autobiografia della musica contemporanea (ed. Michela Mollia), Milan, Lerici, 1979, p. 73. 
2. Gianluigi MATTIETTI, “Canoni e figure: La produzione recente di Aldo Clementi,” in Canoni, figure, carillons: Itinerari della musica di Aldo Clementi (eds. M. R. de Luca and G. Seminara), Milan, Suvini Zerboni, 2008, p. 154. 
3. Aldo CLEMENTI, “Ideogrammi n. 1,” Notiziario: Aldo Clementi, Milan, Suvini Zerboni, 1983, p. 12. 
4. Collage 1961: Un’azione dell’arte di Achille Perilli e Aldo Clementi, Rome, Gangemi, 2005. 
5. Aldo CLEMENTI, “Alcune idee per un nuovo teatro musicale contemporaneo,” Il Verri, VIII/9 (1964), p. 63. 
6. Aldo CLEMENTI, “Commento alla propria musica,” p. 51. 
7. In Benedetto PASSANNANTI, “Clementi: Intervista,” Archivio: Musiche del XX secolo, 1 (1991), p. 72. 
8. Ibid., p. 70. 
9. A static, glacial mass of molto piano intensity, without the slightest crescendo or diminuendo, Variante A is for 144 musicians: seventy-two vocals and seventy-two instruments. These are divided into twelve groups of twelve, with anywhere from two to twelve of the groups performing at once. The vocalists sing the syllables of the Latin mass, reordered according to phonetic criteria. The duration of the work is indetermined, but its sixteen measures should last around one minute and be repeated at least twenty-three times. 
10. Cited in Renzo CRESTI, Aldo Clementi, Milan, Suvini Zerboni, 1990, p. 45. 
11. See Gianluigi MATTIETTI, Geometrie di musica: Il periodo diatonico di Aldo Clementi, Lucques, LIM, 2001. 
12. See the following works on the BACH motif: B.A.C.H. (1970, for piano), which initiates this fourth phase of Clementi’s work, Replica (1972, for harpsichord), Manualiter (1973, for organ), Esercizio (1975, for student violin, violin, and viola), Reticolo: 3 (1975, for three guitars), and Variazioni su B.A.C.H. (1984, for piano).  
13. MATTIETTI, Geometrie di musica, p. 9. 
14. Letter from Aldo Clementi to Antonino Titone, Rome, 8 October 1979. 
15. Douglas R. HOFSTADTER, Gödel, Escher, Bach: An Eternal Golden Braid (1979), Paris, Inter, 1985. 
16. Aldo CLEMENTI, “Ancora sul teatro musicale,” Musica/Realtà, 14 (1984), p. 161. 
17. For viola, in the circular canon for eight voices, two on each string (in normal arco and pizzicato). 
18. This piece treats the opposition between Catholicism and the Reformation. The chorale, performed by a double choir with sixteen parts (eight voices/vocals and eight brass instruments), collides with a tape of Gregorian chants borrowing from the eight ecclesiastic modes. 

© Ircam-Centre Pompidou, 2018

  • Solo (excluding voice)
  • Chamber music
    • Canone circolare for quartet ad libitum ()
    • Due canoni circolari for three recorders (or three violins) (), Suvini Zerboni
    • Sonatina for flute and piano (1950), 8 mn about , Suvini Zerboni
    • Sonata for trumpet, guitar and piano (1955), 10 mn, Suvini Zerboni
    • Tre piccoli pezzi for flute, oboe and clarinet (1955), 4 mn, Suvini Zerboni
    • Studi for trumpet, violin and piano (1956), 7 mn about , Suvini Zerboni
    • Triplum for flute, oboe and clarinet (1960), 4 mn, Suvini Zerboni
    • Invenzione for violin, mandolin, trumpet, accordion and bass drum (1962), 2 mn about , Suvini Zerboni
    • Reticolo: 4 for string quartet (1968), 5 mn about , Suvini Zerboni
    • Esercizio (B.A.C.H.) for 1/2 violin, violin and viola (1975), 2 mn 30 s, Suvini Zerboni
    • Reticolo: 3 (B.A.C.H.) for three guitars (1975), variable, Suvini Zerboni
    • Quintetto for strings (1978)
    • Sphinxs for violin, viola and cello (1978), 10 mn, Suvini Zerboni
    • Berceuse for bass clarinet, viola and cello (in echo) ad libitum and prepared piano (1979), 7 mn, Suvini Zerboni
    • Nun Komm, der heiden Heiland Canons for three trumpets and two trombones (1980), between 6 mn and 7 mn, Suvini Zerboni
    • Adagio for quintet with prepared piano (1983), 6 mn 30 s, Suvini Zerboni
    • Duetto for flute and clarinet (1983), 5 mn about , Suvini Zerboni
    • elec Scherzo for flute, clarinet, violin, cello and pre-recorded electric organ (1985), 4 mn 33 s, Suvini Zerboni
    • Fantasia for four guitars (1987), 5 mn
    • Serenata for winds and strings (1988), 5 mn, Suvini Zerboni
    • Tribute for string quartet (1988), 8 mn, Suvini Zerboni
    • Danze for two twelve-handed pianos (1989), 5 mn, Suvini Zerboni
    • Sei canoni for contralto recorder, harpsichord or keyboards (1990), 10 mn, Suvini Zerboni
    • Om dagen i mitt arbete for clarinet, celesta, piano, two violins and cello (1992), 5 mn, Suvini Zerboni
    • Schema for two clarinets, piano, vibraphone and double bass (1992), Suvini Zerboni
    • C.A.G. for flute, guitar, vibraphone and violin (1993), 5 mn, Suvini Zerboni
    • Settimino for seven instruments (1993), 6 mn, Suvini Zerboni
    • Due canoni for flute, piano and violin (1994), 7 mn, Suvini Zerboni
    • G.F.F. for flute, harpsichord, vibraphone, viola and double bass (1994), 5 mn, Suvini Zerboni
    • Luciano Berio for flute and violin (1995), 4 mn, Suvini Zerboni
    • Clessidra 2 for cello, harp, celesta, piano and vibraphone (1995-1996), Suvini Zerboni
    • Sei momenti for winds and strings (1996), 7 mn, Suvini Zerboni
    • Canone for string quartet (1997), 4 mn
    • Etwas for flute, oboe, clarinet, violin, viola and cello (1997), 5 mn, Suvini Zerboni
    • Dedica for clarinet, piano and cello (1998), 4 mn, Suvini Zerboni
    • Satz for string quartet (1998), 4 mn
    • Valzer su Gesaa for winds and strings (1998), 4 mn
    • Concertino for ensemble (1999), 10 mn
    • Lamento for flute, clarinet, piano, violin and cello (2001)
    • Madrigale 2 for two pianos (2007), 7 mn
  • Instrumental ensemble music
    • 1492 for sixteen instruments (), 6 mn, Suvini Zerboni
    • Concertino in forma di variazioni for nine instruments (1956), 10 mn, Suvini Zerboni
    • Tre Studi for chamber orchestra (1956-1957), 10 mn, Suvini Zerboni
    • Episodi for orchestra (1958), 10 mn, Suvini Zerboni
    • Ideogrammi n. 1 for sixteen instruments (1959), 12 mn, Suvini Zerboni
    • elec Collage one-act musical action on subject and visual material by Achille Perilli (1961), 24 mn, Suvini Zerboni
    • Informel 1 for percussion ensemble and keyboards (1961), 4 mn about , Suvini Zerboni
    • Sette scene for chamber orchestra (1961), 14 mn, Suvini Zerboni
    • Informel 2 for fifteen performers (1962), 7 mn, Suvini Zerboni
    • Informel 3 for orchestra (1961-1963), 7 mn, Suvini Zerboni
    • Variante B for orchestra (1964), 6 mn about , Suvini Zerboni
    • Reticolo: 11 for eleven instruments (1966), 5 mn about , Suvini Zerboni
    • Concerto for wind orchestra and two pianos (1967), 6 mn about , Suvini Zerboni
    • Reticolo: 12 for twelve strings (1970), Suvini Zerboni
    • Blitz musical action (1973), 18 mn about , Suvini Zerboni
    • Sinfonia da camera for chamber orchestra (1974), Suvini Zerboni
    • Clessidra for chamber orchestra (1976), 8 mn 30 s, Suvini Zerboni
    • Intermezzo for fourteen wind instruments and prepared piano (1977), Suvini Zerboni
    • L'orologio di Arcevia for thirteen performers (1979), 16 mn, Suvini Zerboni
    • Pastorale en rondeau for two violins, viola, harpsichord and eight carillons (1981), 7 mn 30 s, Suvini Zerboni
    • Concerto 2E2M for sixteen instruments (1981-1982), 20 mn about , Suvini Zerboni
    • AEB for seventeen instruments (1983), 5 mn about , Suvini Zerboni
    • Komm Süsser Tod! for twelve performers (1983), 4 mn 30 s, Suvini Zerboni
    • 1904 for two horns, four trumpets and two trombones (1984), 4 mn, Suvini Zerboni
    • Ouverture for winds (1984), 10 mn, Suvini Zerboni
    • Das alter Jahr for chamber orchestra (1985), 12 mn, Suvini Zerboni
    • O du Selige for orchestra (1985), 5 mn, Suvini Zerboni
    • Prelude (Hommage à Ravel) for twelve instruments (1987), 3 mn, Suvini Zerboni
    • Cantabile for twelve performers (1988), 10 mn, Suvini Zerboni
    • Adagio cantabile for ensemble (1989), 7 mn, Suvini Zerboni
    • Berceuse 2 for orchestra (1989), 20 mn, Suvini Zerboni
    • Agnus Dei for ensemble (1993), 12 mn, Suvini Zerboni
    • ...Im Himmelreich for ensemble (1994), 7 mn, Suvini Zerboni
    • Danze 2 for two twelve-handed pianos and six recorders (1994), 4 mn, Suvini Zerboni
    • Passacaglia 2 for flute in G, horn, trumpet, piano and strings (1997), 20 mn, Suvini Zerboni
    • Veni, Creator for nine instruments (1997), 10 mn
    • Largo nine canonical variations (1999), 10 mn
  • Concertant music
    • Ideogrammi n. 2 for flute and seventeen instruments (1959), 9 mn, Suvini Zerboni
    • Concerto for piano and seven instruments (1970), 8 mn, Suvini Zerboni
    • Concerto for piano, 24 instruments and chimes (1975), Suvini Zerboni
    • Concerto for double bass, chimes and instruments (1976), Suvini Zerboni
    • Concerto for violin, forty instruments and chimes (1977), 12 mn, Suvini Zerboni
    • Capriccio for viola and twenty-four instruments (1979-1980), between 10 mn and 12 mn, Suvini Zerboni
    • Elegia for flute, four bassoons, four horns and four trombones (1979-1981), 15 mn, Suvini Zerboni
    • Concerto for piano and fourteen instruments (1986), 25 mn, Suvini Zerboni
    • Impromptu for clarinet and string quartet (1989), 5 mn, Suvini Zerboni
    • Musette for harp and seven instruments (1989), 6 mn, Suvini Zerboni
    • Romanza for piano and orchestra (1991), 30 mn, Suvini Zerboni
    • Rapsodia 2 for piano and orchestra (1994), 25 mn, Suvini Zerboni
    • Concerto for two harpsichords and strings (1996), 15 mn, Suvini Zerboni
  • Vocal music and instrument(s)
    • Due poesie for voice and piano on poems by Rainer Maria Rilke and Victor Hugo (1946), 4 mn about , Suvini Zerboni
    • Cantata for narrators, soprano, choir and orchestra on a text by Calderon de la Barca (1954), 10 mn, Suvini Zerboni
    • Variante A for mixed choir and orchestra on Latin text of the Mass (1964), Suvini Zerboni
    • Silben for a female voice, clarinet, violin and piano (1966), 7 mn, Suvini Zerboni
    • Otto franmenti on a "Ballade" by Charles d'Orléans for soprano, countertenor, organ, lute and viola da gamba (1978), 40 mn about , Suvini Zerboni
    • elec Collage: 4 (Jesu meine Freude) Mimo-living action for eight voices, eight brass instruments and tape (1979), Suvini Zerboni
    • ES Rondeau in one act (1980), 50 mn, Suvini Zerboni
    • Halleluja (variation on choir) for orchestra (1982), Suvini Zerboni
    • Cent sopirs for chamber choir and twenty-four wind instruments on an antique French text (1983), 20 mn about , Suvini Zerboni
    • Finale One-act lyrical action with operetta texts for four sopranos and orchestra (1984), 30 mn, Suvini Zerboni
    • Ach ich fühl's for voice and instrumental ensemble. Text by Emanuel Schikaneder for The Magic Flute (1985), 6 mn, Suvini Zerboni
    • Cantilena for voice and double bass (1989-1990), 9 mn, Suvini Zerboni
    • Carillon one-act opera on a few phrases from Der Schwierige by H. von Hoffmansthal (1991-1992), 2 h, Suvini Zerboni
    • Interludi music for the myth of Echo and Narcissus for twelve voices and twenty-four wind instruments (1992), 1 h 10 mn, Suvini Zerboni
    • The Plaint for female voice and orchestra (1992), 12 mn, Suvini Zerboni
    • En litten svensk rapsodi for female voice, bass clarinet and piano (1993), 5 mn, Suvini Zerboni
    • Rapsodia I on fragments by Goethe-Schubert, for soprano, contralto and orchestra (1994), 18 mn, Suvini Zerboni
    • Vocalizzo for voice and eleven instruments (1994), 7 mn, Suvini Zerboni
    • Wiegenlied for voice, two clarinets, viola, cello and double bass (1994), 7 mn, Suvini Zerboni
    • Albumblatt for female voice, flute, guitar and violin (1995), 4 mn, Suvini Zerboni
    • For Colin Rose three canons (1995), 18 mn, Suvini Zerboni
    • Canone perpetuo for eight female voices and instruments (1994-1996), 10 mn, Suvini Zerboni
    • Cantilena 2 for voice, flute, clarinet, violin and viola (1997), 8 mn, Suvini Zerboni
    • Marieva wedding waltz (1997), 5 mn
    • Nenia for voice, guitar, piano, vibraphone and violin (1997), 2 mn 30 s
    • Aria (Dowland) for lute, viola da gamba and female voice (2001), 6 mn, Suvini Zerboni
  • A cappella vocal music
  • Electronic music / fixed media / mechanical musical instruments
  • Unspecified instrumentation
    • Turmuhr bell ringing (1995), Suvini Zerboni
  • 2007
  • 2004
  • 2001
    • Aria (Dowland) for lute, viola da gamba and female voice, 6 mn, Suvini Zerboni
    • Lamento for flute, clarinet, piano, violin and cello
  • 1999
  • 1998
  • 1997
    • Canone for string quartet, 4 mn
    • Cantilena 2 for voice, flute, clarinet, violin and viola, 8 mn, Suvini Zerboni
    • Etwas for flute, oboe, clarinet, violin, viola and cello, 5 mn, Suvini Zerboni
    • Marieva wedding waltz, 5 mn
    • Nenia for voice, guitar, piano, vibraphone and violin, 2 mn 30 s
    • Passacaglia 2 for flute in G, horn, trumpet, piano and strings, 20 mn, Suvini Zerboni
    • Veni, Creator for nine instruments, 10 mn
  • 1996
    • Canone perpetuo for eight female voices and instruments, 10 mn, Suvini Zerboni
    • Clessidra 2 for cello, harp, celesta, piano and vibraphone, Suvini Zerboni
    • Concerto for two harpsichords and strings, 15 mn, Suvini Zerboni
    • Sei momenti for winds and strings, 7 mn, Suvini Zerboni
  • 1995
    • Albumblatt for female voice, flute, guitar and violin, 4 mn, Suvini Zerboni
    • For Colin Rose three canons, 18 mn, Suvini Zerboni
    • Luciano Berio for flute and violin, 4 mn, Suvini Zerboni
    • Turmuhr bell ringing, Suvini Zerboni
  • 1994
    • ...Im Himmelreich for ensemble, 7 mn, Suvini Zerboni
    • Danze 2 for two twelve-handed pianos and six recorders, 4 mn, Suvini Zerboni
    • Due canoni for flute, piano and violin, 7 mn, Suvini Zerboni
    • G.F.F. for flute, harpsichord, vibraphone, viola and double bass, 5 mn, Suvini Zerboni
    • Rapsodia 2 for piano and orchestra, 25 mn, Suvini Zerboni
    • Rapsodia I on fragments by Goethe-Schubert, for soprano, contralto and orchestra, 18 mn, Suvini Zerboni
    • Vocalizzo for voice and eleven instruments, 7 mn, Suvini Zerboni
    • Wiegenlied for voice, two clarinets, viola, cello and double bass, 7 mn, Suvini Zerboni
  • 1993
  • 1992
    • Carillon one-act opera on a few phrases from Der Schwierige by H. von Hoffmansthal, 2 h, Suvini Zerboni
    • Interludi music for the myth of Echo and Narcissus for twelve voices and twenty-four wind instruments, 1 h 10 mn, Suvini Zerboni
    • Om dagen i mitt arbete for clarinet, celesta, piano, two violins and cello, 5 mn, Suvini Zerboni
    • Schema for two clarinets, piano, vibraphone and double bass, Suvini Zerboni
    • The Plaint for female voice and orchestra, 12 mn, Suvini Zerboni
  • 1991
    • Romanza for piano and orchestra, 30 mn, Suvini Zerboni
  • 1990
    • Cantilena for voice and double bass, 9 mn, Suvini Zerboni
    • Sei canoni for contralto recorder, harpsichord or keyboards, 10 mn, Suvini Zerboni
  • 1989
    • Adagio cantabile for ensemble, 7 mn, Suvini Zerboni
    • Berceuse 2 for orchestra, 20 mn, Suvini Zerboni
    • Danze for two twelve-handed pianos, 5 mn, Suvini Zerboni
    • Impromptu for clarinet and string quartet, 5 mn, Suvini Zerboni
    • Mottetto su re, mi.. for eighteen female voices, 5 mn, Suvini Zerboni
    • Musette for harp and seven instruments, 6 mn, Suvini Zerboni
  • 1988
    • Cantabile for twelve performers, 10 mn, Suvini Zerboni
    • elec Passacaglia for flute and recorded flute, 20 mn, Suvini Zerboni
    • Serenata for winds and strings, 5 mn, Suvini Zerboni
    • Tribute for string quartet, 8 mn, Suvini Zerboni
  • 1987
  • 1986
    • Concerto for piano and fourteen instruments, 25 mn, Suvini Zerboni
  • 1985
    • Ach ich fühl's for voice and instrumental ensemble. Text by Emanuel Schikaneder for The Magic Flute, 6 mn, Suvini Zerboni
    • Das alter Jahr for chamber orchestra, 12 mn, Suvini Zerboni
    • Fantasia on Giorgo MoEnCH, 6 mn, Suvini Zerboni
    • O du Selige for orchestra, 5 mn, Suvini Zerboni
    • elec Scherzo for flute, clarinet, violin, cello and pre-recorded electric organ, 4 mn 33 s, Suvini Zerboni
  • 1984
    • 1904 for two horns, four trumpets and two trombones, 4 mn, Suvini Zerboni
    • Finale One-act lyrical action with operetta texts for four sopranos and orchestra, 30 mn, Suvini Zerboni
    • Lento for cello, 6 mn, Suvini Zerboni
    • Ouverture for winds, 10 mn, Suvini Zerboni
    • Variazioni su B.A.C.H. for piano, Suvini Zerboni
  • 1983
    • AEB for seventeen instruments, 5 mn about , Suvini Zerboni
    • Adagio for quintet with prepared piano, 6 mn 30 s, Suvini Zerboni
    • Cent sopirs for chamber choir and twenty-four wind instruments on an antique French text, 20 mn about , Suvini Zerboni
    • Duetto for flute and clarinet, 5 mn about , Suvini Zerboni
    • Frammento for piano, Suvini Zerboni
    • Komm Süsser Tod! for twelve performers, 4 mn 30 s, Suvini Zerboni
  • 1982
    • Concerto 2E2M for sixteen instruments, 20 mn about , Suvini Zerboni
    • Halleluja (variation on choir) for orchestra, Suvini Zerboni
  • 1981
    • Elegia for flute, four bassoons, four horns and four trombones, 15 mn, Suvini Zerboni
    • Fantasia su roBErto FABriCiAni for flute, 10 mn, Suvini Zerboni
    • elec Parafrasi Eighteen voice cannon and tape recording, Suvini Zerboni
    • Pastorale en rondeau for two violins, viola, harpsichord and eight carillons, 7 mn 30 s, Suvini Zerboni
  • 1980
  • 1979
    • Berceuse for bass clarinet, viola and cello (in echo) ad libitum and prepared piano, 7 mn, Suvini Zerboni
    • elec Collage: 4 (Jesu meine Freude) Mimo-living action for eight voices, eight brass instruments and tape, Suvini Zerboni
    • L'orologio di Arcevia for thirteen performers, 16 mn, Suvini Zerboni
    • elec Madrigale for prepared piano four hands and tape, 10 mn about , Suvini Zerboni
    • Variazioni for solo viola, between 8 mn and 10 mn, Suvini Zerboni
  • 1978
    • Fantasia on fragments of Michelangelo Galilei for lute, Suvini Zerboni
    • GiAn(ca)rlo CArDini for prepared piano, 5 mn about , Suvini Zerboni
    • Otto franmenti on a "Ballade" by Charles d'Orléans for soprano, countertenor, organ, lute and viola da gamba, 40 mn about , Suvini Zerboni
    • Quintetto for strings
    • Sphinxs for violin, viola and cello, 10 mn, Suvini Zerboni
  • 1977
    • Concerto for violin, forty instruments and chimes, 12 mn, Suvini Zerboni
    • Intermezzo for fourteen wind instruments and prepared piano, Suvini Zerboni
    • Sigla for organ, Suvini Zerboni
  • 1976
    • Clessidra for chamber orchestra, 8 mn 30 s, Suvini Zerboni
    • Concerto for double bass, chimes and instruments, Suvini Zerboni
  • 1975
  • 1974
  • 1973
    • Blitz musical action, 18 mn about , Suvini Zerboni
    • Manualiter for organ, Suvini Zerboni
  • 1972
    • Replica for harpsichord, between 3 mn and 5 mn, Suvini Zerboni
  • 1970
    • B.A.C.H. for piano, between 1 mn 30 s and 4 mn 30 s, Suvini Zerboni
    • Concerto for piano and seven instruments, 8 mn, Suvini Zerboni
    • Reticolo: 12 for twelve strings, Suvini Zerboni
    • Silbenmerz for a singer, actress and baritone or more, 5 mn about , Suvini Zerboni
  • 1968
    • Reticolo: 4 for string quartet, 5 mn about , Suvini Zerboni
  • 1967
    • elec Collage 3 (Dies Irae) electronic music, 23 mn about , Suvini Zerboni
    • Concerto for wind orchestra and two pianos, 6 mn about , Suvini Zerboni
  • 1966
    • Reticolo: 11 for eleven instruments, 5 mn about , Suvini Zerboni
    • Silben for a female voice, clarinet, violin and piano, 7 mn, Suvini Zerboni
  • 1964
    • Variante A for mixed choir and orchestra on Latin text of the Mass, Suvini Zerboni
    • Variante B for orchestra, 6 mn about , Suvini Zerboni
  • 1963
    • Informel 3 for orchestra, 7 mn, Suvini Zerboni
    • Intavolatura for harpsichord, between 5 mn and 7 mn, Suvini Zerboni
  • 1962
    • elec Collage 2 electronic music, 5 mn 15 s, Suvini Zerboni
    • Informel 2 for fifteen performers, 7 mn, Suvini Zerboni
    • Invenzione for violin, mandolin, trumpet, accordion and bass drum, 2 mn about , Suvini Zerboni
  • 1961
    • elec Collage one-act musical action on subject and visual material by Achille Perilli, 24 mn, Suvini Zerboni
    • Informel 1 for percussion ensemble and keyboards, 4 mn about , Suvini Zerboni
    • Sette scene for chamber orchestra, 14 mn, Suvini Zerboni
  • 1960
    • Triplum for flute, oboe and clarinet, 4 mn, Suvini Zerboni
  • 1959
  • 1958
    • Episodi for orchestra, 10 mn, Suvini Zerboni
  • 1957
  • 1956
  • 1955
    • Sonata for trumpet, guitar and piano, 10 mn, Suvini Zerboni
    • Tre piccoli pezzi for flute, oboe and clarinet, 4 mn, Suvini Zerboni
  • 1954
    • Cantata for narrators, soprano, choir and orchestra on a text by Calderon de la Barca, 10 mn, Suvini Zerboni
  • 1950
  • 1946
    • Due poesie for voice and piano on poems by Rainer Maria Rilke and Victor Hugo, 4 mn about , Suvini Zerboni
  • 1944
    • Preludio for piano, 4 mn, Suvini Zerboni
  • Date de composition inconnue

Bibliographie

  • Aldo CLEMENTI, « Alcune idee per un nuovo teatro musicale contemporaneo », Il Verri, VIII/9 (1964), p. 61-66.
  • Aldo CLEMENTI, « Ancora sul teatro musicale », Musica/Realtà, 14 (1984), p. 157-161.
  • « L’Io e l’Es di Aldo Clementi », entretien avec Renato Garavaglia, Musica Laboratorio, 3 (1981), p. 28-30.
  • Notiziario.Aldo Clementi, Milan, Suvini Zerboni, 1983.
  • « Aldo Clementi », Archivio. Musiche del XX secolo, 1 (1991), p. 57-133.
  • Collage 1961. Un’azione dell’arte di Achille Perilli e Aldo Clementi, sous la direction de Simonetta Lux et Daniela Tortora, Rome, Gangemi, 2005.
  • Canoni, figure, carillons. Itinerari della musica di Aldo Clementi, sous la direction de Graziella Seminara et Maria Rosa de Luca, Milan, Suvini Zerboni, 2008.
  • Contemporary Music Review, Taylor & Francis, XXX/3-4 (2011) :Aldo Clementi: Mirror of Time II.
  • Grafia musicale e segno pittorico nell’avantguardia italiana (1950-1970), sous la direction d’Enrica Torelli Landini, Rome, De Luca, 2012.
  • Mario BORTOLOTTO, Fase seconda, Turin, Einaudi, 1969.
  • Gianmario BORIO, Musikalische Avantgarde um 1960, Ratisbonne, Laaber Verlag, 1993.
  • Renzo CRESTI, Aldo Clementi, Milan, Suvini Zerboni, 1990.
  • Marco LENZI, « Vie dell’astrattismo. Alcune osservazioni su Feldman, Clementi e la pittura », Musica/Realtà, 47 (1995), p. 79-93.
  • Gianluigi MATTIETTI, Geometrie di musica. Il periodo diatonico di Aldo Clementi, Lucques, LIM, 2001.
  • David OSMOND-SMITH, « Au creux néant musicien: Recent Work by Aldo Clementi », Contact, 23 (1981), p. 5-9.
  • Michele ZACCAGNINI, « Deus ex Machina, Uncovering Aldo Clementi’s System », Perspectives of New Music, vol. 54, n°1 (Winter 2016), pp. 137-178

Discographie

  • Aldo CLEMENTI, Opere scelte : Capriccio, Cent Sopirs, AEB, Concerto, Fantasia su Giorgio MoEnCH, Intermezzo, Christiane Edinger (violon), Georg Moench (violon), Aldo Bennici (alto), Divertimento Ensemble, Orchestra sinfonica di Milano della RAI, Orchestra sinfonica di Roma della RAI, Orchestra A. Scarlatti di Napoli della RAI, sous la direction de Gianluigi Gelmetti, Arturo Sacchetti, Farhad Mechkat, David Machado et Sandro Gorli, 1 CD Ricordi, 1987, CRMCD 1004.
  • Aldo CLEMENTI, Adagio , Berceuse, Impromptu, Scherzo, Triplum, Caput Ensemble, 1 CD Stradivarius, 1994, STR 33336.
  • Aldo CLEMENTI, Madrigale : Impromptu, Om dagen i mitt arbete, Settimino, Scherzo, …im Himmelreich, Studi, Duetto , Madrigale, Due canoni, Veni, Creator, Ives Ensemble, 1 CD hat HUT, 1999, hat HUT 123.
  • Aldo CLEMENTI, Punctum Contra Punctum : Concerto, GiAn(ca)rlo CArDini, Fantasia su roBErto FABriCiAni, Parafrasi, Roberto Fabbriciani (flûte), Giancarlo Cardini (piano), Liliana Poli (voix), Gruppo Musica Contemporanea di Firenze, sous la direction de Mario Ruffini, 1 CD Die Schachtel, 2005, DS 12.
  • Aldo CLEMENTI, Fragments and Symetries : Invenzione 4, Studio (sul tocco), B.A.C.H., Blues (Fantasie su frammenti di Thelonious Monk), Blues 2, Replica, Vom Himmel hoch, Variazioni, Turmuhr, Frammento, Invenzione 2, Danze, Madrigale, Composizione, Studio 2 (sulla monotonia), Variazioni su B.A.C.H., GiAn(ca)rlo CArDini, Loure, Sarabande, Catene simmetriche, Aldo Clementi, Mats Persson et Kristine Scholz (piano), 2 CDs content, 2006, SAK 4610-9.
  • Aldo CLEMENTI, Works with Guitar : Serenata, Dodici variazioni, Albumblatt, Fantasia su frammenti di Michelangelo Galilei, Otto variazioni, C.A.G., The Plaint, Geoffrey Morris (guitare), Elision Ensemble, sous la direction de Carl Rosman, 1 CD mode, 2007, mode 182.
  • Aldo CLEMENTI, Due poesie, Tiziana Scandaletti (soprano), Riccardo Piacentini (piano), 1 CD Stradivarius, 2009, STR 233769.
  • Aldo CLEMENTI, Scherzo, Ex Novo Ensemble, 1 CD Stradivarius, 2010, STR 33852.
  • Aldo CLEMENTI, Works with Flutes : Fantasia su roBErto FABbriCiAni, Ouverture, Passacaglia, luCiAno BErio et Parafrasi 2, Robert Fabbriciani (flûte), 1 CD mode, 2010, mode 224.
  • Aldo CLEMENTI, For Saxophones : Canone, Satz 2, Blues (Fantasie su frammenti di Thelonious Monk), Momento, Texture, Vom Himmel hoch, Blues 2, Satz, Canone circolare, Manuele Morbidini, Rossano Emili, Pasquale Laino, Pedro Spallati (saxophones), Amirani Records, 2015, AMRN 041.
  • Aldo CLEMENTI, Tre ricercari, Trio Accanto, 1 CD Wergo, 2018, WER 73642.

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