I futuribili

Futurable, in the sense of the word, is what might hypothetically be realized under certain circumstances, but which remains in future possibilities. These possibilities in Western musical culture are realized using the new technologies made available by new ideas, musical tape equipments and electronic instruments that have enabled a new conception of sound and musical composition itself. So Stockhausen declared: since 1950, we began to question everything that is European music: not only the musical language, its grammar and its vocabulary, but also the sound material used so far, the sounds themselves. On this basis we have to include amongst the greatest authors of the concrete and electronic music, the name of Egisto Macchi, as the investigator of these new techniques: he composed, according to the various themes of the songs, unthinkable futuristic and exciting atmospheres. The great knowledge of the composition, sound and tremendous sensitivity and musical inventiveness allowed him to take full advantage of the great opportunity and freedom that such innovative equipment, extremely unusual for that time, allowed him. In the tracks of this CD, Maestro Egisto Macchi happily experiences all the possibilities of sound which at the time, the early seventies, could be imagined recreating all the atmospheres so well described in various musical titles, through minimalist instrumental sounds and vocals, with tricks of magnetic tape and analog sounds read in reverse, with concrete and electronic sounds. The score no longer exists: there are only the sound and atmosphere of a hypothetical and non-futuristic world. In CAMERE ANECOICHE, for example, on a pulsing basis of electronic sound, all musical experiments above are involved, from time to time: electric guitar, recorded sounds of analog instruments that are read both normally and backwards, sounds of light percussions with bongos and other idiophonic instruments, in no particular order. This studied and rarefied musical confusion, constantly displaces the listener and does not allow him to have hearing reference, leaving him in a chosen state of mind almost hypnotic. In NUOVI PIANETI the main part is supported by a recording of basses and cellos accords, in the low register, read backwards. In this evocative listening are gradually overlapped other sounds, both synthesized and electronic, with interventions by pizzicato strings and orchestral sections they also overturned. This symphony of vibrations very effectively sums up the mystery surrounding new and important discoveries in the universe. For the record, we must not forget the great media attraction and global sensation for the human landing on the moon that took place in those years. Also the other titles that relate to known and unknown Futuristic Space are composed in the same musical perspective, but with compositional concepts always diversified and original. Separate discussion is that of EXTRATERRESTRE in which we bring a different musical theme in which we have no more to do with purely aesthetic feelings, but it deals with a possible form of life out of our human conception. Despite its brevity, compared to the other tracks this musical discourse becomes more urgent, more pressing, as if to awaken, in our subconscious, a deep concern for an unknown civilization, or some horrific monsters, coming from intergalactic space. We have an acknowledgment of the international validity and musical actuality of Maestro Egisto Macchi in these original songs produced in 1972, also by the fact that his song MODULO LUNARE has been inserted in the soundtrack of the movie OCEAN'S TWELVE, produced in 2004 by Warner Bros, which has been so successful in the U.S. and around the world for the unique choice of music. For this and more, we say that Maestro Egisto Macchi, in 1972, was really one of THE FUTURABLE. Biographical Notes: Born in Grosseto, August 4, 1928, he died at Montpellier on August 8, 1992. At a young age he studied piano with Maestro G. Sinistri Mazzoli; in the years 1945-53, he has made important and decisive musical studies for the violin with Maestro Guarnieri (from 1945 to 1949); he studied composition with Maestro Roman Vlad (1948-49); he studied voice with the Polish baritone Gronen-Kubitzkj (years 1949-52) and from 1949 to 1953 he studied composition with M° Scherchen. Committed musician, eclectic and generous, essentially self-taught, he has gone with vigor and emotion through all the seasons of Italian music after World War II. In the wake of his personal inclinations and the lessons drawn directly to the works of his favorite authors (Schoenberg, Berg, Bartok, Puccini), he avoided to accept too rigid and binding methods of composition: while adhering to a serial principle of conduct in some of his early works, he diverged very early to take some forms of writing, the most personal and unconventional, sensitive to the influence of chance and free improvisation. The variety of experiences lived from Maestro E. Macchi (next to the composition, the musical organization, improvisation, electronic music) reveals on the one hand, the extent and the extroversion of his musical interests, on the other hand, the very limits of its production of art, that in fact remained on the margins of the history of the Italian avant-garde music. In the 60s he founded the association NUOVA CONSONANZA for contemporary music, with the masters Franco Evangelisti, Mario Bertoncini, Mauro Bortolotti, Domenico Guaccero and Daniele Paris. He has written soundtracks for documentaries since 1958, popular songs and instrumental compositions for experimental music theater, in 1965 he founded the Musical Theatre Company of Rome along with Guaccero and Bussotti. We must not forget the establishment of the Sound Archive of Contemporary Music, in the Research Institute for the musical theater, based in Rome and the musical collaboration with COMETA EDIZIONI MUSICALI with which he has produced a number of original records in which has expressed his whimsical art of composition.

15 Tracks (4 new tracks never relesaed before) Modulo Lunare is a track also used in Ocean's Twelve movie soundtrack

1. Camere Anecoiche 5:00

2. Nuovi Pianeti 3:27

3. Richiami spaziali 4:22

4. Modulo Lunare 2:45

5. Capsula in Avaria 4:33

6. Forme Planetarie 1:30

7. Stazioni Spaziali 1:21

8. Extraterrestre 1:06

9. Punto Critico 3:08

10. Nebulose 2:40

11. Fascia Radioattiva 1:31

12. Aerofoni 2:57

13. Alba su marte 1:37

14. Astronavi 3:56

15. Reperti Lunari 4:48