The Conservatory Orchestra baptizes the first car with musical pieces composed by Vincenzo Parisi and played by porters and wipers. The creator Horacio Pagani: thus I combine art and science
The red curtain of the Lirico slowly opens. In the proscenium a black grand piano. The pianist, white hair and tennis shoes, sits down and starts playing. On the last chord the lights come on revealing theConservatory Orchestra which, under the guidance of its director from Piero Mianiti, takes up the music again and continues in an ever more engaging crescendo.
Because in the meantime, from under the stage of the Lirico, something emerges: a sinuous shape that gradually reveals itself as a car of rare beauty: slender, cream-colored, gigantic wheels. A Pagani Hypercar named Utopia. Utopian even in the price, starting from 3 million to get to a dozen or so. Golden keys in hand. Utopia for very few that is selling like hot cakes. The 99 units of the new model are all already sold. The 25-year long dream of Horacio Pagani, its creator, always the same, to reconcile art and science. In this case notes and engines, given that to present the new born he wanted to commission a piece of music to a young man who left the ranks of the Conservatory, Vincenzo Parisiwinner of the composition award in 1921.
Moreover, he had the task of condensing the spirit of that music in a few seconds and breaking it down into sound signals related to the car’s instrumentation. So what when the driver closes the door or operates the windshield wipers, he will be greeted by a music cell to choose from three available depending on the mood: sunny, melancholic, pop. Utopia will be the first sound car, proudly explains Pagani, born in a small town in Argentina 67 years ago, the son of an immigrant from Como. My father was a baker but in his spare time he played the trumpet in a jazz band – he remembers -. And my mother played piano. We were poor, but the music was at home. I was never disciplined, I never even learned to read notes, but I started playing my way. And even to compose. In the eighties I had written small pieces, recorded on a small device. I kept them all this time and then I entrusted them to Vincenzo.
In the Eighties I was not yet born but the music of that period is perhaps my favorite – Parisi intervenes -. The challenge of reinventing something of my own on those tracks seemed irresistible to me. For a month I listened and listened trying to immerse myself in the world of that boy of yesterday, in his dreams, in his utopias. Of all that sound material I used three cores. An image of a big cat came to mind. When Horacio showed me a preview of the drawings I knew I had hit the mark. His Utopia a sort of Bat-mobile, a panther that snaps and in two seconds reaches 100 kilometers per hour. With the obsessive attention to detail he puts into his cars, Pagani has followed every step of the composition. Curious about everything, he asked me to explain the arrangement of the instruments in the orchestra – continues Parisi -. I listed them but I forgot the harp. Just what he wanted to hear. As an example I made him listen to the theme of Jurassic Park. There absolutely has to be, she told me. The harp gives shine to the body.
Having inserted the musical fragments into the car is something – remembers Parisi – that has a lucky precedent: Bill Gates asked Brian Eno to invent the sound that accompanies the turning on of his computers. Of course, any comparison out of place, including that of the cachet.
But who can afford to hear those sounds behind the wheel of Utopia? The answer can be read in the audience present yesterday at the Lirico, with broad representation of the United Arab Emirates. Whose sheikhs, in times of energy crisis, certainly do not have the problem of full.
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September 13, 2022 (change September 13, 2022 | 08:26)
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