Work as "of a wild, methaphysical and inexplicable kind". Lord George Gordon Byron

Uniko is like an ocean tide coming in. Big wawes of sounds build in complexity, animation and sometimes sheet frenzy.

The New York Times

For a number of years, it has been my convinction that Music (and Art in general) must simply have the humble task of describing its own End, or at the very least, its slow dying out. … Misunderstandings are only created by those who, even unconsciously, think of music as a discourse, and thus, even unawares, as caricature of an arc that describes a useless orgasm. … Everything flows smoothly, even in total immobility. The reality that surrounds us already moves too fast to make us want to imitate it. The end naturally creates a sense of saturation and exhaustion, but it is never definitive: by way of a hopeless inurement, we immediately hasten into the infinite and the eternal.

Aldo Clementi, from sleeve text

Clementi, with his customary intransigence, proceeds down his solitary road, which in recent years has led him to the use of the so-called "informal" borrowed from certain experiences in painting. (…)
Clementi shapes his music with the transparency and essentiality of means that make master-works.

from sleeve text

A decade and half after John Cage's death, his oeuvre still has much to offer in the way of surprise. … Cage always said he considered himself essentially a percussionist composer

Andràs Wilheim

Diana Baker's tone is sparkling, never ugly or brassy, and she navigates her way through Gubaidulina´s muscular virtuosity with the finesse of a Russian ballerina. An important recording.

Haskins / American Record Guide

The present release in our Festspieldokumente Edition is intended to illustrate the close bond between Berio and the Salzburg Festival and features performances of two of his most important works, both of which caused something of a sensation not just in Salzburg but in the wider musical world. Both works - Epifanie, which was written between 1959 and 1961, and Coro, which received its first performance at Donaueschingen in 1976 - were later revised and their original versions were withdrawn. For this reason if for no other, the unrevised versions released here are of particular importance for the performing history and reception of these works.

from the attached booklet

From Pression for solo cello of 1969 to the trio Allegro sostenuto of 1986-88, listeners of the present CD are confronted with central stations in Helmut Lachenmann's oeuvre …… Lachenmann worked out his idea of a "musique concrete instrumentale", taking the idea of sound production, which until then had been merely taken for granted in the tradition but never explored in such a radical way, and moving to the foreground of compositional thinking

from the attached booklet

This record is devoted to three American composers who I only met once but whose work I listened to a great deal before and after I met them. And each of those composers provided me with their own illuminating guidance through what is now known as New Music. ………..
While I know that many people have to spend their lives rushing here and there, I should like to suggest that they listen slowly to everything on this recording as a single, whole event. Only by doing this and absorbing the actual sound of the guitars themselves, the vibrations of their strings and the overall architecture of what is here will listeners hear that each piece is not an independent document but that its identity exists precisely in relation to what comes before and after it.

Elena Càsoli

With Corticalart (cortex's art) the connection between artist and his instrument become thousand times clutched than usually. It's the better process to go, early and rightly, to the origin of mental gesture of creation, to intercept, to amplify and to organize instantly the secret voice of main psychical mechanisms.
«Je suis un homme de variété qui compose de façon classique, à partir de bruits intérieurs qui viennent de mes rêves» (Pierre Henry 2010)

20 Rosas: soirée for the 20 years of Rosas's Company - Première partie

20 Rosas: soirée for the 20 years of Rosas's Company

Many actors read-out some "Canti" of Dante's Divina Commedia, but nobody did it like Carmelo Bene, moreover with accompaniment of Salvatore Sciarrino's "musique de scène"

Of the eight pieces in program, all for small groups of performers, six are of recent years, one in 1995 and "Song of Farewell" even in 1966. These tracks have in common some key characteristics: the parts of different instruments often move in apparent independence from one another, in a contrapuntal way, also rely mostly on sequences of small intervals. The dominant dynamic is "piano", mostly the "pianissimo", the times are generally slow or very slow. All this combines to create a "timeless", an inner feeling of suspension or extension of time, almost of fixity, which is essentially and strongly contemplative.

L'uomo, non come quantità, come massa, ma come singolo deve lottare per un mondo ideale, dove ci sia posto per il veggente, anche per il precursore, e poco importa se è un anarchico (Man, not in quantity, as in mass, but as an individual, alone, must strive for his ideal world, where there is place for the seer, as for the precursor, and little does it matter ìf he be an anarchist)

Bruno Maderna