Many of the words in the song "The Big Man" by Mauro Pagani are verbatim quotations from speeches by an inconvenient and disturbing political American character, with whom many of us find it hard to relate on the eve of the presidential elections.
Maestro Mauro Pagani talks about the seminal work composed in collaboration with the late legendary singer-songwriter Fabrizio De André. Thirty years later, a newly remixed version of the iconic album is set to be released.
Once again on music, politics, culture, and life in New York. But also on the Sanremo Festival—for decades the platform for main- stream music in Italy. Pagani is directing it for the second year in a row, and we want to know why.
"As we used to say, the quality of everything one does is political, so music is always political in that it has a political effect. An ugly song is a 'carrier' of subculture whereas a good song is the opposite, so the only way to be positive in music is to produce beautiful songs."
Continuing our conversation with Maestro Mauro Pagani, with whom I met over the course of the summer in the city to talk about music, politics, culture, and his New York experience. One of the topics we covered during a long walk along the Hudson River was Southern Italian Music and its influence on Italian music at large
“Modernity’s problem is communication, especially in this time of cultural globaliza-tion. And good communication depends upon cross-cultural exchange.”
Violinist, composer, co-founder of the legendary Italian Rock band PFM, and conductor, the Maestro Mauro Pagani brought l'Orchestra della Taranta ensemble from Salento to Le Poisson Rouge in New York. Two evenings of feverish folk-music with a peastant's dance, Pizzica, performed during the celebrations surrounding religious festivities or in weddings