Aldo Clementi's belief is that "Music as art must simply accomplish the humble task of pursuing its own end", but his vast catalogue demonstrates an extraordinary and creative vitality. 　　This freshness, in David Osmond-Smith's words, far from spiraling down into silence, testifies that "The steady flow of pieces from his pen shows the music ability to re-birth, phoenix-like, from the ashes". 　　Clementi's sonic space, made by highly precious craftsmanship and conceptual strength, undoubtedly represents one of the most original and fascinating results in the late twentieth century music history. 　　A student of Alfredo Sangiorgi and Goffredo Petrassi , he began to build his own identity as a composer starting from post-Webern serialism coordinates, by elaborating the influence of both attending Darmstadt and acquiring technical skills thanks to the relationship with Bruno Maderna. 　　Deeply influenced by contemporary painting (especially by the "informal" art of Fautrier, Tàpies, Tobey and Burri, but also by Perilli's and Dorazio's works), and by the relationship with John Cage (with whom he shared the passion for chess), Clementi has achieved, since the early Sixties, his own aesthetic, gradually shifting from the structuralist categories to a personal dimension and style. Since the Informel cycle, Clementi's works feature complex and rigorous contrapuntal textures, resulting from graphic processes and designed to dissolve internal dialectics by saturating the sonic space. 　　 　　 　　These transcriptions for saxophone quartet are simply intriguing. 　　A timbral conversion of Clementi's work that generates unsuspected freshness and new depth to the music. 　　 　　Quoting 　　 　　Manuele Morbidini's liners: 　　 　　I met Aldo Clementi in his last years, and sought his company as though hoping to discover from him the solution to an enigma. Thus, the transcriptions presented in this recording are, above all, an attempt by an enthusiastic student to come to grips with the work of the musician he unhesitatingly adopted as a mentor - and what's more, a mentor whose influence caused a complete and profound transformation of one's point of view. 　　Aldo liked these transcriptions, certainly much more than I had hoped or expected. He wanted them to be published; we listened to and discussed the recordings on this album, but his worsening health forced us to suspend work. In reality, this was never intended to be a hommage à la memoire. 　　 　　[...] The choice of the compositions did not depend on the adoption of a systematic criterion, but on the intuitive preference for works that seemed more "suitable" to the timbral reconfiguration I had in mind. 　　 　　[...] The sense of such an operation comes from the desire to articulate an answer, among the possible ones, to the hard question that Clementi's regle du jeu constantly poses to the performer: how to fill the space between a sort of Beckettian scene and an unexpected, poignant, illumination. [...]