Musica Elettronica 1969-1971 allo Studio di Fonologia della RAI di Milano

LP, edition of 200. Deluxe cover with handmade silver foil printed on 450g paper, also includes a 30x30cm double-sided insert with detailed notes, pictures and more.

Winner of the prestigious Prix Italia for Rai in 1964 with Il dio di oro, artistic director since 1969 of Rai’s Milan Studio di Fonologia Musicale founded by Berio and Maderna in 1955, creator of the first course of electronic music at the Milan Conservatory, Paccagnini is one of the least known figures of the original Italian early Electronic Music scene, above all due to the absence – until today – of recordings of his works, notable for their originality and ideological commitment. Paccagnini was certainly an “independent utopian” in every manifestation of his multifaceted artistic and professional career. As a composer he pursued with perseverance, at times even with stubbornness and disarming candour, the path of commitment but, even in the turbulent years of protest, he always kept the direct denunciation of his own personal opinion on the margins, in order to leave the public the right to elaborate keys of potentially infinite reading of his works, of which three of the most significant are presented in this album in the first ever world edition.

The musical journey of NoMus and Die Schachtel comes with this book to a controversial and troublesome figure in the Italian musical panorama of the second half of the twentieth century, and in fact the title summarizes the artist’s personality. Angelo Paccagnini was for sure an “Independent Utopian” in every expression of his multifaceted artistic and professional career. As a composer he pursued the path of commitment with constancy, at times even with stubbornness and disarming innocence, but even in the turbulent years of protest, he always kept the direct denunciation of his own opinion on the sidelines in order to leave the public the possibility to elaborate potentially infinite interpretations of his works. Full of documents, beautiful stage pictures and complete with an previoously unreleased piece of music on CD, the book contributes to enrich and integrate the very scarce existing literature about the composer, winner of the prestigious Prix Italia for Rai in 1964 with Il dio di oro, since 1969 artistic director of the Studio di Fonologia Musicale di Milano della Rai founded by Berio and Maderna in 1955, creator of the first course of electronic music at the Conservatorio di Milano. Research and study of the sources have brought to light first-hand documents and unpublished works, such as In hoc signo vinces rediscovered in the Archivio Carmi, which testifies the musician’s collaboration with the brilliant graphic artist and painter Eugenio Carmi, and Un uomo da salvare, a theatrical opera composed for the Piccola Scala in Milano and never performed, whose analogic audio tapes, preserved in the Archivio Paccagnini in Castano Primo, constitute the precious content of the audio CD attached to the book.