Composers

He was born in Grosseto in 1928. He lived in Rome since his birth where he made his musical (composition, piano, violin, singing), scientific (courses of medicine and physic dealing with electronics and singing) and literar (degree in literature) studies. He made studies, researches and experimentations on micro-intervals and particularly on quarter-tones.
He's always been very interested since the 50's in the field of musical organisation, collaborating with a group of musicians (Franco Evangelisti, Domenico Guaccero, Daniele Paris), who are also friend of him. In 1959 he was part of the editing office and of the direction of the musical review "Ordini" with Evangelisti, Guaccero and Titone; this review deals with studies about new music.

In 1960 he founded Nuova Consonanza with Franco Evangelisti, Domenico Guaccero, Daniele Paris and Antonio De Blasio which is an association for the diffusion of contemporary music.
In 1967 he takes part to the "Gruppo di Improvvisazione Nuova Consonanza", founded in 1964 by Franco Evangelisti. He was solicited by his friends in Rome, by Antonino Titone and Francesco Agnello to participate to the International Weeks of Nuova Musica in Palermo (1959-1968).

The experience of those years allows him to devote himself to the research in the musical theatre: Anno Domini (1962) on text by Antonino Titone and A(lter) A(ction) (1962) on texts by Antonin Artaud, manipulated by Mario Diacono. In 1965, he founded with Sylvano Bussotti and Domenico Guaccero the "Compagnia del Teatro Musicale di Roma", which organised some of the most important spectacles of the contemporary musical theatre. In addition to musical theatre his first 10 years of musical composition are carachterised by a large instrumental production (for instance, Composizione 3, study for 12 instruments; Morte all'orecchio di van Gogh, for reciting voice, harpsichord, tape and chamber orchestra, 1964) and some voice works (Il mistero della pace, for basso and piano, 1958; Voci, for chorus on texts by Ungaretti, 1963, Composizione 6 - Kleines Dachauer Requiem, for children chorus, 1968). From 1968 to 1980 he interrupted voluntarily this kind of activity to devote himself exclusively to cinematographic and television music. In this period he was one of the founders (with Branchi, Evangelisti, Guaccero, Guiducci, Marinuzzi jr. and Ketoff) of "Studio R7- Electronic Laboratory for Experimental Music" (1967-1973).
In 1976 he organised the "Corali Riunite del Comune di Manciano" (Grosseto) which he directed for 5 years.
In 1976 he was part of the Italian Commission for the Music of UNICEF with Nino Rota, Ennio Morricone, Franco Evangelisti and Luis Bacalov.

The second compositive phase deals above all with the vocality, particularly the female one, (O vos omnes, for chorus of female voices and/or treble voices in eight parts, 1980; D'altri diluvi una colomba ascolto, for soprano and female chorus, 1984; Ma già dall'orizzonte accenni addio, for soprano, piano, double quartet and chamber orchestra, 1985; Venere e il Leone, serious opera for soprano and piano on a libretto by Nicola Badalucco, 1985; Dies Irae, for children and/or female chorus and fireworks, 1986; Sura per Garcia Lorca, for soprano and string quartet, 1986; A matra, one act serious opera for reciting voice on libretto by Badalucco, for soprano and piano, 1987; Repliche di Bruna, for soprano and piano, 1987; È vicina l'ora: s'è spaccata la luna, for female chorus and strings quartet, 1988; E io?, for soprano and piano, 1991). The only exception is Bolero, for 11 or 19 strings which was a commission by the "Gruppo Strumentale Musica d'Oggi" in 1988. In 1983 he founded with Domenico Guaccero the "Istituto della Voce"; its aim is dealing with all the problems connected to the voice in cultivated music, in popular music in all the continents or which is however tied to the new technologies of electronics and cybernetic. Starting from 1985 he collaborates each year with the Councillorship of Culture in the Commune of Rome for the organisation of the "liederistic" monographic organisation held by the "Istituto della Voce"in the Ercole Lounge of the Pinacoteca Capitolina.

He has promoted many initiatives also in the field of research and conservation of sound documents; since 1984 he is part with the President Carlo Marinelli, Paola Bernardi and Ennio Morricone of the direction of IRTEM (Institute of Research for Musical Theatre) in which he directs also the Sound Archives for Contemporary Music, creating cycles of conferences, meetings and seminars for the knowledge and diffusion of contemporary music. He is active in the world of cinematographic and television music since 1959 and he is the author of more than 50 sound-tracks such as Padre padrone by Taviani brothers; Trotzkj and Mr. Klein's murder by Joseph Losey, Bronte and Il delitto Matteotti by Florestano Vancini, La via del petrolio by Bernardo Bertolucci, La villeggiatura by Marco Leto, All'armi siam fascisti by Cecilia Mangini and Lino del Fra, and so on... He's the author of more than 3 thousand documentaries and many tv broadcasts. In the last ten years he has worked continually with the French, Belgian, Dutch and Tunisian cinema.

In 1989 he directed also some musical theatre and the staging of Euridice by Jacopo Peri and of Il combattimento di Tancredi e Clorinda, both realised with the Gruppo "Recitar Cantando" directed by Fausto Razzi. Since 1979 he has also directed the project and the draft of Apocalypsis altera - on texts by S. Giovanni, Joyce, Ungaretti and from the Koran and collated by Mario Diacono - a far reaching work conceived as a "work in progress" and left unfinished.
The idea of Una Via Crucis was one of his inventions; it is an oratorio work witten with the collaboration of Ennio Morricone, Michele dall'Ongaro and Antonio Poce on texts by sergio Miceli (1990-1993). When he died - on 8th August 1992 - he was president of the "Istituto della Voce", director of the "Sound Archives" of contemporary music of IRTEM, member of the executive commettee of "Nuova Consonanza" and "Pro Musica Studium". He was also engaged in the promotion of "Opera Nova"; this project was conceived in the last few years and its aim was the diffusion in places where there were no repertory companies, traditional serious operas in chamber transcruption. For this reason Egisto Macchi had already made the transcription for 16 instruments and 4 synthesizers the score of La Bohème by Giacomo Puccini (1991) while Morricone, involved in the project, had made the trancription for Tosca. Both stagings were ready for the scenic realisation.