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*What is the story with this Italian spoken-word vinyl record from 1960? Who are these people, where did it come from?
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This vinyl record, Il Versificatore / Dove Cresce L’Erba by Primo Levi and Emilio Donaggio, released in 1960 by Excelsius under the “Dischi Del Possibile E Dell’Impossibile” series, is a fascinating artifact of Italian sound poetry and spoken word from the mid-20th century. It’s a vinyl 7” with 33 ⅓ RPM, packaged in a gatefold format, and distributed by Fonit Cetra, a prominent Italian music label at the time. Let’s break down the story, the people involved, and its origins.
The Record and Its Content
The record features two tracks:
Side A: “Il Versificatore” by Primo Levi, featuring Adolfo Fenoglio, Elvio Ronza, and Giovanni Moretti. “Il Versificatore” translates to “The Versifier” or “The Poet,” suggesting a poetic or narrative piece, likely rooted in Levi’s literary style.
Side B: “Dove Cresce L’Erba” by Emilio Donaggio, featuring Elvio Ronza. This translates to “Where the Grass Grows,” hinting at a reflective or descriptive spoken-word piece, possibly tied to nature or existential themes.
Both tracks fall under the “Non-Music” category, specifically labeled as dialogue, sound poetry, and spoken word. Sound poetry blends spoken language with rhythmic or experimental sound, often prioritizing the voice’s texture over traditional narrative. This aligns with the avant-garde cultural currents of the 1950s and 1960s in Italy, where writers and artists explored new forms of expression after World War II.
The cover art, with its circuit-board-like design and Levi’s name prominently displayed, suggests a blend of literary prestige and modern, possibly futuristic, aesthetics—fitting for a series called “Dischi Del Possibile E Dell’Impossibile” (Records of the Possible and the Impossible), which implies experimental or boundary-pushing content.
Who Are These People?
Primo Levi (1919–1987): A towering figure in Italian literature, Levi was a chemist, writer, and Holocaust survivor. His most famous works, like If This Is a Man (Se questo è un uomo, 1947) and The Periodic Table (Il sistema periodico, 1975), blend memoir, science, and poetry to explore human resilience and the horrors of Auschwitz. By 1960, Levi was gaining recognition, and this record likely reflects his interest in experimenting with poetry and spoken forms, possibly drawing on his technical background or his nuanced understanding of language as a survivor. “Il Versificatore” might showcase his poetic voice, potentially weaving in themes of creation, technology, or memory—common in his work.
Emilio Donaggio: Less is known about Donaggio unless this is a pseudonym or a lesser-known figure. Based on the context, he could be a poet, writer, or collaborator in Italy’s literary or avant-garde circles of the time. His track, “Dove Cresce L’Erba,” suggests a poetic or philosophical bent, possibly pastoral or existential. Without more specific records, he might have been a contemporary or collaborator of Levi, or someone involved in the sound poetry scene.
Adolfo Fenoglio, Elvio Ronza, Giovanni Moretti: These individuals are listed as featured contributors on Levi’s track. They’re likely actors, poets, or performers who lent their voices to the recording, adding depth or dialogue to the piece. Fenoglio could be related to Beppe Fenoglio, a noted Italian novelist, but it’s not confirmed. Ronza and Moretti are less documented, but they were likely part of Italy’s cultural or theatrical scene, common in spoken-word projects.
Elvio Ronza: Appears on both tracks, suggesting he was a key performer or voice artist, possibly a regular in this experimental sound poetry scene.
Piero Novelli: Credited as the curator, Novelli was likely the producer or editor behind the record, possibly a figure in Italian radio, theater, or music production. He might have worked with Excelsius or Fonit Cetra to bring this project to life.
Where Did It Come From?
This record emerged from the post-war Italian cultural landscape, a time of intellectual ferment. After World War II, Italy saw a resurgence in literature, cinema, and experimental arts, with writers like Levi pushing boundaries. The late 1950s and early 1960s also saw a boom in spoken-word recordings, driven by radio, theater, and the vinyl boom. Excelsius, the label, was part of this wave, focusing on niche, intellectual content under its “Dischi Del Possibile E Dell’Impossibile” series, which likely aimed to explore the edges of art, science, and imagination.
Fonit Cetra, the distributor, was a major Italian music company, known for classical, opera, and later popular music, suggesting this record had some mainstream backing despite its niche appeal. The 1960 release date places it in a period when Italy was modernizing rapidly—industrial growth, economic miracles, and cultural shifts—and Levi, in particular, was engaging with these themes in his writing.
The record’s gatefold format and vinyl medium indicate it was a premium, collectible item, likely aimed at literary or artistic audiences rather than mass consumption. It reflects the intersection of Italy’s literary elite (Levi) and avant-garde sound experiments, possibly tied to movements like Futurism’s legacy (which celebrated technology and sound) or the broader European interest in concrete poetry and sound art.
The Bigger Story
This isn’t just a record—it’s a snapshot of Italy’s cultural moment. Levi, fresh off his early success, might have seen sound poetry as a way to explore language’s rhythm or trauma’s echoes, while Donaggio and others tapped into a growing interest in experimental forms. The “possible and impossible” theme hints at a speculative, forward-looking vibe, possibly inspired by science fiction or Levi’s scientific background. It’s rare today—likely a collector’s item or archival piece, cherished by fans of Levi, sound poetry, or Italian cultural history.
If you’re curious about the specifics of the tracks’ content or want to dig into reviews or surviving copies, I’d need to search further, but this gives you the gist: a blend of literary weight, experimental art, and Italy’s post-war creative energy, all pressed onto vinyl in 1960. Does this spark any particular interest—like Levi’s role or the sound poetry scene? I can narrow it down from here.