#Egisto Macchi

[ozkar-krapo]

Egisto MACCHI

"Sei Composizioni"

(LP. Gemelli. 1975) [IT]

[mariocki]

Bandidos (Guns of Death, 1967)

"You've been a good teacher."

"A good teacher doesn't teach you to kill."

[marcogiovenale]

commiato dal musicista antonello neri

Il commiato dal musicista Antonello Neri, scomparso il 28 maggio, si terrà domani, martedì 30 maggio alle ore 15 al tempietto egizio del Verano, dove sarà proiettato il documentario Antonello Neri, di suo figlio Federico Ayrton. Antonello Neri: Iren – ImprovvisAzioni vesuviane (29 maggio 2010) Konsequenz (KNZ012) Musica e pianoforte: Antonello Neri Fair…

[theretirementhome]

Egisto Macchi - Alba sul mare

Buy it here.

[burlveneer-music]

Andrea Belfi - Eternally Frozen - more low winds (see Jessica Pipe Sextet) but in this case they’re brass rather than reed instruments

Eternally Frozen consists of a series of canon based compositions for brass ensemble, percussion and synthesizer by Andrea Belfi. The canon is an ancient compositional technique in which an initial melody is imitated at a specified time interval by one or more parts, creating illusionary never-ending musical journeys. The work is inspired by the evocative image of the Deprong Mori, a mythological bat with the alleged ability to fly through solid matter by bending atoms by it’s natural skill of audio echolocation. The myth suggests that one of these bats had been “eternally frozen” in a wall of solid lead in 1952 by the researcher of the Rockefeller University, Donald R. Griffith. This story is exhibited in a display at the Museum of Jurassic Technology in Los Angeles, an institution renowned for both speculative, fantastical reinforcement of mythology and playful and beguiling distortions of mysterious could-be truths. Both the canon and the “frozen” Deprong Mori are man-made illusory simulations of eternity. Their attempt is to create mirages, where the insinuation of facts is more meaningful than the reality. After many years of sonic explorations with percussion, drums, and electronics, Belfi is here projecting himself as a composer through the direction of an astonishing brass ensemble in the realization of these canonic works. There are evident echoes of the works of Arthur Russell, Miles Davis, Moondog, William Basinski, and the Italian soundtrack tradition of Ennio Morricone and Egisto Macchi. Robin Hayward - Tuba Henrik Munkeby Nørstebø - Trombone Elena Kakailogu - French Horn Kaleidoskop Ensemble (Boram Lie, Ildiko Ludwig, Anna Faber, Mia Bodet, Mari Sawada, Yodfat Miron, Isabelle Klemt, Daniella Strasfogel): strings and choir on 1 Elisabetta Porcinai: cover art and design

[byneddiedingo]

Padre Padrone (Paolo Taviani, Vittorio Taviani, 1977) Cast: Omero Antonutti, Saverio Marconi, Marcella Michelangeli, Fabrizio Forte, Marino Cenna, Stanko Molnar, Nanni Moretti, Gavino Ledda. Screenplay: Paolo Taviani, Vittorio Taviani, based on a book by Gavino Ledda. Cinematography: Marino Masini. Production design: Gianni Sbarra. Film editing: Roberto Perpignani. Music: Egisto Macchi. Two great themes coalesce in Padre Padrone. One is older than Oedipus, the primal conflict of father and son. The other came to the fore in the Enlightenment and the democratic revolutions it spawned; we now call it "social mobility." Poets used to write of flowers "born to blush unseen" and "mute inglorious Milton[s]," the victims of rural isolation, primitive ignorance, societies atrophied in feudal patriarchy. The Tavianis find both themes surviving in rural Sardinia, where Gavino Ledda's father drags him from school at the age of 6 and keeps him in servitude and illiteracy as a shepherd for the next 14 years. Padre Padrone could have been just a feel-good story about Gavino's triumph over his father's sternness and greed -- though the elder Ledda thinks what he's doing is for the son's own good -- but the Tavianis won't let it be just that. Though Gavino, rescued by compulsory military service from isolation and ignorance, becomes a celebrated linguist, an authority on the Sardinian dialect, the actual Gavino Ledda, appearing in a frame story for the dramatized part of the film, lets it be known that he has been permanently marked by his father. The Tavianis also find witty ways of letting the outside world irrupt into the young Gavino's isolation, as when the young shepherd hears an accordion playing and the soundtrack bursts into the overture from Die Fledermaus, a correlative for the world beyond the Sardinian hills. Later, after Gavino has begun to find his vocation but has been forced to return home, the aching beauty of the adagio from Mozart's Clarinet Concerto, to which Gavino is listening, is stifled when the father angrily drowns the radio in the sink. Gavino's feeling of being suppressed by his father finds a correlative when he joins a group of other young men carrying the effigy of a saint to a festival at the church. Hidden underneath the heavy statue, the men plot an escape to be guest-workers in Germany, but the camera pans up to the statue, which has changed to an image of Gavino's father, whose refusal to sign the necessary papers prevents Gavino from fleeing. Padre Padrone was made for Italian TV, and has been restored from 16mm film, so its images are sometimes a little muddy, but it gains real power from its storytelling and from the performances of Omero Antonutti as the father and Saverio Marconi as the grownup Gavino.  

[tabsnaomi]

🪆 hi moon!!

HI HELLO

an innis sigh by the rankins (and maaany other people)

m'lover by kishi bashi

conversazione by mina

the lament of eustace scrubb by the oh hellos

arte sacra by egisto macchi

[rewilding-hi-fi]

Listen/purchase: Egisto Macchi - IL DESERTO by Cinedelic

[phantasmagloria]

Storm Stereo #89: Visionari Radicali

We journey through 50 years of Italian composing and experimenting. No talking, only music. Featuring minimal electronics, hypnotic drones, warm ambient, mystique concrète & more. From Pietro Grossi & Egisto Macchi to Ruscigan & Alessandro Alessandroni.

Italians do it better, clockwise from top left: Pietro Grossi, Egisto Macchi, Alessandro Alessandroni, Piero Umiliani On this show we take a step back from talking and let the music speak for itself, as we take a journey through 50 years of Italian composing and experimenting. We listen to influential artists who helped shape the superior Italian sound and contemporary acts that continue to live…

[zhanteimi]

Egisto Macchi – Città notte

Egisto Macchi – Città notte

Italy, 1972, library music / avant-folk / chamber music Beautiful, nuanced, subdued. What is it with Italians making some of the best Library Music? This has so much texture, with brass squawking like dying birds and strings droning in sustained swells, all within an electronic soundscape.

[garadinervi]

Gruppo di Improvvisazione Nuova Consonanza, Musica su schemi, CRSLP 6109, «nova musicha» 9, Cramps Records, 1976 [Fondazione Bonotto, Molvena (VI)]

[ozkar-krapo]

Egisto MACCHI

"Pittura contemporanea / Pittura moderna n°1 & n°2"

(3LP box. Cinedelic rcds. 2016 / rec. 1975) [IT]

[genevieveetguy]

La Canta delle Marane, Cecilia Mangini (1961)

[theoszczepanski]

Egisto Macchi - La cella

[burlveneer-music]

Andrea Belfi - Eternally Frozen - Bathe your ears in the mellow sonority of strictly low-end brass - tuba, trombone, & French horn

Eternally Frozen consists of a series of canon based compositions for brass ensemble, percussion and synthesizer by Andrea Belfi. The canon is an ancient compositional technique in which an initial melody is imitated at a specified time interval by one or more parts, creating illusionary never-ending musical journeys. The work is inspired by the evocative image of the Deprong Mori, a mythological bat with the alleged ability to fly through solid matter by bending atoms by its natural skill of audio echolocation. The myth suggests that one of these bats had been “eternally frozen” in a wall of solid lead in 1952 by the researcher of the Rockefeller University, Donald R. Griffith. This story is exhibited in a display at the Museum of Jurassic Technology in Los Angeles, an institution renowned for both speculative, fantastical reinforcement of mythology and playful and beguiling distortions of mysterious could-be truths. Both the canon and the “frozen” Deprong Mori are man-made illusory simulations of eternity. Their attempt is to create mirages, where the insinuation of facts is more meaningful than the reality. After many years of sonic explorations with percussion, drums, and electronics, Belfi is here projecting himself as a composer through the direction of an astonishing brass ensemble in the realization of these canonic works. There are evident echoes of the works of Arthur Russell, Miles Davis, Moondog, William Basinski, and the Italian soundtrack tradition of Ennio Morricone and Egisto Macchi. The brass ensemble consists of Robin Hayward - Tuba, Henrik Munkeby Nørstebø - Trombone, Elena Kakaliagou - French Horn. The three of them have a long list of prestigious collaborations in the experimental music world, including artists and composers such as Eliane Radigue, Ellen Arkbro, Phill Niblock.

[yestheydo]

from Dolce Russia (1983)