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The decade from 1968-1978 has a pivotal importance in Italy’s 20th century history, it was a period of deep social and cultural transformation on the wings of the Berkeley youth protests and the so-called ‘French May’ which then developed in different directions, due to the moral contradictions of one of the most conspiratory countries of the western world. The definitive loss of innocence of a nation still drunk from the economic exploits of the early sixties and yet ready for a leap into the void of the modern age, with lots of crazy and incomprehensible variables.
Years of high-tension events – beginning with the tragic massacre of Piazza Fontana and finishing with the infamous kidnapping and murderer of Aldo Moro - reflected in every aspect of the society and ‘cultural building’. A palpable tension could be felt both sonically and visually.
The soundtrack of this whole world was written in real time by a bunch of enterprising composers, right in the middle of a session for some magical Italian soundtrack or even an appearance alongside the RAI (the main national broadcaster) Orchestra, who made ‘creative gym’ and little money while recording some instant albums for the most sought after publishers of libraries. Sonic pictures of the heyday of Italian society, truly unique from the music made by French, English or German composers in their respective countries.
The sound coming from the Italian television was as sharp as a razor blade and tasted just like lead and lachrymatory, with a howling fuzz guitar and a heavy drum to set the tumultuous scene of a society on the verge of implosion. Daniela Casa, Remigio Ducros, Alessandro Alessandroni, Stelvio Cipriani, Enzo Scoppa, Amedeo Tommasi, Franco Tamponi and the other composers featured acted as drastic audio reporters, on top of being incredible musicians. They were able to describe in just few minutes the climax they were surrounded by, using their classical heritage and training with hints of the avant-garde, at the same time as the boost of psych-rock, jazz, funk and whatever other popular musical innovation came their way. Urged to be minimalistic and so far not original – the quintessence of the library diktat – the Italian composers answered instead with an experimental vocation pushed by that same need for renewal, stimulating the entire nation in those crazy and marvelous years. |
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