Egisto Macchi, born in Grosseto, 1928; passed away in August, 1992. He studied both music and literature in Rome, where he was also active in the field of musical organization, together with a group of musicians (Franco Evangelisti, Domenico Guaccero, Daniele Paris). Together with Guaccero, Paris and Titone he was one of the editors of the magazine «Ordini», published in 1959. In 1960 he founded Nuova Consonanza with Bertoncini, Bortolotti, De Blasio, Evangelisti, Guaccero, Paris, and he was a member of the Board of Directors, as well as President of the association from 1980 to 1982, and in 1989. He assisted the organization of the Settimane Internazionali di Nuova Musica (1959-1968) in Palermo since their first edition. Together with Domenico Guaccero he founded the Teatro Musicale di Roma, and he was among the founders of Studio R7 (electronic laboratory for experimental music) which was inaugurated in Rome in 1967. On the same year he became a member of the Gruppo d'Improvvisazione Nuova Consonanza, founded in 1964 by Franco Evangelisti.In 1978 he was a member of the Italian Committee for music at UNICEF (United Nations Children's Fund) with Luis Bacalov, Franco Evangelisti, Ennio Morricone and Nino Rota.In 1983, with Domenico Guaccero, he founded the Istituto della Voce, with the aim of studying problems connected with singing in the fields of both “classical” and ethnic music, as well as the relationship with new technologies represented by electronics and cybernetics. He became president of the Institute in 1984, upon his friend’s death.He promoted many activities in the fields of research and conservation of sound documents; since 1984, the year in which it was founded, he was a part of IRTEM’s Board of directors, with Paola Bernardi, Carlo Marinelli and Ennio Morricone. He directed the Contemporary Music Sound Archive, organizing conferences, meetings and seminars aimed at promoting the circulation of modern and contemporary music.In the last period he was working on the composition Apocalypsis altera (finished in 1988, but conceived as a «work in progress»), on texts by St. John, Joyce, Ungaretti and the Coran, collected by Mario Diacono.He also directed theatrical performances of operas; in 1989 he dealt with Peri’s Euridice (presented in Halle) and Monteverdi’sIl Combattimento di Tancredi e Clorinda, both of which were performed by Fausto Razzi’s ensemble Gruppo Recitar Cantando.In November, 1991 he finished transcribing La Bohème for 16 instruments and 4 synthesizers; this opera, together with Ennio Morricone’s transcription of Tosca should have given rise to a sort of revolution in the widespread circulation of melodramatic music, as he himself claimed in the presentation of this bold and promising enterprise.Since 1959 Egisto Macchi was active in the field of music for the cinema and television: he contributed to both French and Belgian films, and composed approximately 50 cinema soundtracks, as well as being author of the musical commentary to some 3000 documentaries and innumerable TV shows.Among the most important film directors with whom he worked are Joseph Losey (L'assassinio di Trotzky andMonsieur Klein), the Taviani brothers (Padre padrone, Palma d'oro at the Cannes Festival, 1978), Bernardo Bertolucci (La via del petrolio, 3 TV shows filmed for RAI-Radiotelevisione italiana, 1965), Florestano Vancini (Bronte and Il delitto Matteotti), Cecilia Mangini and Lino Del Fra (All'armi siam fascisti, La torta in cielo e Antonio Gramsci, Pardo d'oro at the Locarno Festival, 1978), Luigi Di Gianni (Il tempo dell'inizio), Gianfranco Mingozzi (Le lunghe ombre, Col cuore fremo Sicilia, Leone d'oro at the Venezia Film Festival, 1965), Alberto Negrin (Io e il Duce), Claude D'Anna (Salomé), Marco Leto (Una donna spezzata), Täieb Louhichi (Layla, l'ombre de la terre), Giorgio Treves (La coda del diavolo and stage music for Elettra).