|
|
viewing 1 To 17 of 17 items
|
|
|
|
|
|
|
|
|
|
|
|
2LP
|
|
NMN 150LP
|
A reissue of Antibarbarus, issued as a compact disc in 1998, was the first edition Walter Marchetti released on Alga Marghen. The Antibarbarus cycle of five pieces makes use of original tapes coming from the same recording sessions that originated some of Marchetti's major musical works realized in the '80s, collected in his two CDs: 1989's Vandalia (NMN 076-4CD/NMN 083-5LP) and 1984's Per La Sete Dell'orecchio (NMN 083-3LP). This former series of works presented some homogeneous and untouched sound sources in the "concrete" status of their inner - and necessarily chaotic - level of entropy. Nevertheless this operative and only in appearance "neutral" premise introduces an implicit mimetic transposition. This link between the "iconic" threshold of the acoustical material and its transposition literally deconstructs the prerogatives and the ideological categories of music composition. In Antibarbarus, the temporal continuum restores the mimesis of the phenomenal regression of musical time, crystallized in a framed-length which gets estranged from subjective domain. But the transfiguration of sound sources now deliberately intends to de-signify the analytical prerogatives of hearing. The sensorial perception is in such a way inhibited from an immediate comprehension of the acoustic reality so reproduced: canis reversus ad vomitum suum. In the late 1950s, Marchetti was able both to formalize a more critical aim towards the established lingua franca and absolutist ideology of musical avant-gardism and to expand the sense of artistic praxis, in line with an ethical and subtly political evaluation of aesthetic experience. Marchetti was inspired by Cage's poetics of indeterminacy and subsequently created, through a close and indissoluble association with Juan Hidalgo and José Luis Castillejo, an original and de-ritualized form of action-music which led in 1964 to the birth of ZAJ group. Marchetti's work relays, in its procedural level, upon a resolute de-functioning of the musical codes and impose this act as a reversed mimesis of the methodological statute of music composing. Namely, not a "degré zero de l'écriture", but its "reversal"; not a "denial of style", but "style of denial". In this perspective, Walter Marchetti's oeuvre condenses one of the rare examples of aesthetic radicalism consciously extended to music poetics. Comes in full color gatefold sleeve; Includes printed inner sleeves (with photos of "Musica da camera n. 182", London, Raven Row, 1989/2011 and "Music in secca", Milano, Fondazione Mudima, 2003); Liner notes by Gabriele Bonomo in English and Italian.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
NMN 100-2CD
|
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. This performance by Reinier van Houdt was recorded on April 29, 2015, at Onder De Linden in Valthermond, Netherlands, and is presented with liner notes by Gabriele Bonomo, translated from the Italian by Philip Corner. Composed in 1994, the Concerto For The Left Hand belongs to an ongoing series of works written between 1994 and 1997 -- along with "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, while also not excluding performance and installation practices and the use of pre-recorded "concrète" sounds which, since the '60s, had been his privileged field of action (a modality shared principally within the exquisitely iconoclast and desecratory activities of the ZAJ group). What was particularly interesting to Marchetti in this recourse to musical writing was the weakening of 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 in which 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: on the one hand, the restrictive imposition of the paradox by which the music cannot manifest itself while respecting the letter of the enunciation, which leads to the impossibility of the music's "existence" (i.e. the obligation of holding an open black umbrella in the same hand) or, on the other hand, the transgression of this encumbrance in favor of the implicit possibility of playing the score with the right hand, leaving the music subjected to its own manifestation no longer be able to coincide with its own realization -- "a magic made free from the lie of being truth." Limited edition of 300. Digipak with full-color booklet containing photos and the liner notes.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
NMN 100LP
|
LP version. 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. This performance by Reinier van Houdt was recorded on April 29, 2015, at Onder De Linden in Valthermond, Netherlands, and is presented with liner notes by Gabriele Bonomo, translated from the Italian by Philip Corner. Composed in 1994, the Concerto For The Left Hand belongs to a series of works written between 1994 and 1997 -- along with "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, while also not excluding performance and installation practices and the use of pre-recorded "concrète" sounds, which, since the '60s, had been his privileged field of action (a modality shared principally within the exquisitely iconoclastic and desecratory activities of the ZAJ group). What was particularly interesting to Marchetti in this recourse to musical writing was the weakening of 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 in which 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: on the one hand, the restrictive imposition of the paradox by which the music cannot manifest itself while respecting the letter of the enunciation, which leads to the impossibility of the music's "existence" (i.e. the obligation of holding an open black umbrella in the same hand) or, on the other hand, the transgression of this encumbrance in favor of the implicit possibility of playing the score with the right hand, leaving the music subjected to its own manifestation no longer able to coincide with its own realization -- "a magic made free from the lie of being truth." Limited edition of 300. Full-color sleeve with printed inner sleeve bearing photos and the liner notes.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
NMN 076-2CD
|
2010 release. 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.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
NMN 076-1CD
|
2010 release. Alga Marghen very proudly presents the only authorized reissue of all Walter Marchetti's original recordings previously released by Cramps Records. The recording of La Caccia, one of the most radical in the neo-avant-garde panorama for 35 years, is divided in two tracks: "Versione All'aria Aperta" and "Versione Per Uno Spazio Chiuso." The sound is generated by hunting calls for birds and other animals. According to Steven Stapleton, this is one of the best records ever published. The CD includes "La Caccia" (1965) as well as two extreme electronic ZAJ pieces, "Adversus" (Home-made electric music) (1966) and "Osmanthus fragrans" (Home-made electric music) (1973). The 16-page booklet presents the original 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. All texts are published both in English and Italian. First included in an LP-sized 4CD box set together with three other CDs titled In Terram Utopicam, 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.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
NMN 076-3CD
|
2010 release. A very simple sequence of piano accidents, according to Robert Ashley one of the most beautiful piano pieces 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.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
NMN 076-4CD
|
2010 release. With Vandalia Walter Marchetti focuses his concrete and radical themes. Also including is 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.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
NMN 039CD
|
2001 release. As Walter Marchetti told to the producers of De Musicorum infelicitate, i.e., The Unhappiness of Music, this will probably be his last music work, but this is not the only point making this edition a very special one. After two CDs previously issued for Alga Marghen (Antibarbarus in 1998 and Nei Mari del Sud in 1999) these "Ten Pieces in the Form of Painful Variations" dispose in their unceasing and implacable sequence the landing at an anaphorical finis terrae, the extreme and impassable threshold, beyond which music can but sink in the abyss of its own loss of consciousness, in front of the horizon of the definitive loss of its exhausted tradition. "De musicorum infelicitate," anamnesis of the condition of music, a barren aesthetic code ineluctably suspended between self-mystification and expression of the inauthentic, having reached the limit of its own fertility and every faculty of the imagination. "De musicorum infelicitate," longing for a magniloquent destructio musicae, the destruction of an administrated practice, of a tautological exercise devoid of inner necessity. As Gabriele Bonomo, the project coordinator of the complete Walter Machetti editions for Alga Marghen, remarks in the liner-notes, music has been reduced to leading a ghostly existence, haunting the cemetery of history and frustrated by the impossibility to adhere to itself; if only music were able to recognize its own superfluity it could fulfill its destiny. While listening to these "Ten Pieces in the Form of Painful Variations," each one with the precise duration of six minutes, you will realize that music, this extremely dense sonority close to the pulverization limit, is talking about itself.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2CD
|
|
NMN 059CD
|
2006 release. Music: the foundation of that presence in which we find ourselves shows itself as pure negative. Everything 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 anecdotal 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 return 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" announces the end of musical avant-gardism and its technocratic aspirations. It points to 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-page booklet with essays by Water Marchetti, Gabriele Bonomo and José Luis Castillejo.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
4CD BOX/BOOK
|
|
NMN 076CD
|
Restocked; 2010 release. 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.
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 original 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. CD edition limited to 400 copies.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
NMN 083-2LP
|
2021 restock. LP version, previously released in the Il Divano Dell'orecchio 5LP box. Includes the same materials as the original 1978 Cramps LP titled In Terram Utopicam, or "J'aimerais jouer avec un piano qui aurait une grosse queue" (1974/1975), "Adversus" (Home-made electric music) (1966) and "Osmanthus Fragrans" (Home-made electric music) (1973). The LP sleeve reproduces the original scores of "J'aimerais jouer" and "Adversus," and includes photos of the performance at the Venice Biennale. The full-color inner sleeve reproduces photos of various Marchetti performances as well as the original In Terram Utopicam LP layout.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
NMN 083-1LP
|
2021 restock. LP version, previously released in the Il Divano Dell'orecchio 5LP box. Includes the same materials as the original 1974 Cramps LP titled La Caccia (1965). The LP sleeve reproduces the original scores, photos of both the 1965 ZAJ performances and of Marchetti recording La Caccia. The full-color inner sleeve reproduces the original La Caccia LP layout.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
NMN 083-4LP
|
LP version, previously released in the Il Divano Dell'orecchio 5LP box (ALGA 083LP). The LP sleeve reproduces a photo of the performance at Milanopoesia in 1988, as well as the text In My Music. The full-color inner sleeve reproduces a photo of the Natura Morta installation.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
NMN 083-3LP
|
2021 restock. This LP includes "Per La Sete Dell'orecchio" (1981), previously privately issued on the LP of the same title. This reissue also includes "Song for John Cage" (1985), which has never been available on vinyl before. The LP sleeve reproduces the "Song for John Cage" score. The full-color inner sleeve reproduces the original Per La Sete Dell'orecchio LP layout. All texts are published both in English and Italian. First included in a 5LP box set together with other 4 LPs titled La Caccia, In Terram Utopicam, Natura Morta and Vandalia.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
NMN 083-5LP
|
2021 restock. LP version, previously released in the Il Divano Dell'orecchio 5LP box (ALGA 083LP). Includes "Perpetuum Mobile" (1981) and "Le Secche Del Delirio" (1989). Both pieces have never been available on vinyl before. The LP sleeve reproduces a photo of the "Perpetuum Mobile" performance at Musicalia in 1981. The full-color inner sleeve reproduces a "Musica Da Camera" installation and the original Vandalia layout.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Book
|
|
ALGA WM
|
"alga marghen very proudly presents 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.'
The 180-page De Musica Inversa book is published in both English and Italian. First included in an LP sized 4CD box set together with other 4 CDs titled La Caccia, In Terram Utopicam, Natura Morta and Vandalia, this book is also available now, separately from the complete box set, in a very limited number of copies.
'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.'"
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
5LP BOX
|
|
NMN 083LP
|
"alga marghen very proudly presents the only authorized reissue of all Walter Marchetti original recordings previously released by Cramps Records. A 5LP box set including La Caccia, In Terram Utopicam, Per La Sete Dell'orecchio, Natura Morta and Vandalia.
LP1 includes the same materials as the original 1974 Cramps LP titled La Caccia (1965). The LP sleeve reproduces the original scores, photos of both the 1965 ZAJ performances and of Marchetti recording La Caccia. The full-color inner sleeve reproduces the original La Caccia LP layout.
LP2 includes the same materials as the original 1978 Cramps LP titled In Terram Utopicam, or 'J'aimerais Jouer Avec Un Piano Qui Aurait Une Grosse Queue' (1974/75), 'Adversus' (Home-made electric music) (1966) and 'Osmanthus Fragrans' (Home-made electric music) (1973). The LP sleeve reproduces the original scores of 'J'aimerais Jouer' and 'Adversus', photos of the performance at the Venice Biennale. The full color inner sleeve reproduces photos of various Marchetti performances as well as the original In Terram Utopicam LP layout.
LP3 includes Per La Sete Dell'orecchio (1981), previously privately issued on the LP with the same title and 'Song for John Cage' (1985), never available on vinyl before. The LP sleeve reproduces the 'Song for John Cage' score. The full color inner sleeve reproduces the original Per La Sete Dell'orecchio LP layout.
LP4 includes Natura Morta (1980), never available on vinyl before. The LP sleeve reproduces a photo of the performance at Milanopoesia in 1988, as well as the text In My Music. The full color inner sleeve reproduces a photo of the Natura Morta installation.
LP5, titled Vandalia, includes 'Perpetuum Mobile' (1981) and 'Le Secche Del Delirio' (1989). Both pieces were never available on vinyl before. The LP sleeve reproduces a photo of the 'Perpetuum Mobile' performance at Musicalia in 1981. The full color inner sleeve reproduces a 'Musica Da Camera' installation and the original Vandalia layout. LP edition limited to 350 copies."
|
viewing 1 To 17 of 17 items
|
|