Harp Guitar Player of the Month
by Gregg Miner
If the impressive sight of the harp guitarist in the striking photograph above brings to mind Jesus Christ himself, you are not alone. His nickname was, in fact, “Il Cristo” (“The Christ”) – not just for his magnificent hair and beard, but also (quoting the daily “La Nazione” of June 6th 2004) “for his bearing, ascetic look, sweet inviting expression and smile veiled in a slight melancholy.” His given name is Italo Meschi, and by all accounts he shared many other traits with his namesake – notably his messages of peace, his austere lifestyle and his deep spirituality. But just who was this arresting musician, with the equally outrageous harp guitar?
Outside of Lucca, Italy, where he was born and died (1887-1957), Italo’s story is largely unknown. With no recordings or direct descendants left behind, there are few today who would have any opportunity to come across the music, history or any mention of this unique performer. Not unless one has a friend or relative who happened to catch one of Italo’s performances throughout the 1920s and ‘30s, in such major cities as London, Rome, Paris, New York and San Francisco.
I myself had never heard the
name – not until I received the above image from Italo’s third
cousin, Riccardo Sarti, who lives in Rockville Maryland and
works for the Washington office of Finmeccanica, Italy’s
aerospace company. Riccardo humbly asked if Italo might not be
mentioned somewhere on the site. I
was too fascinated to let a mere mention suffice, so Riccardo and I,
with invaluable help from Mr. Lilio Giannecchini ─ President of
the “Istituto Storico della Resistenza e dell’Eta’ Contemporanea”
in Lucca, ─ spent several months piecing together this remarkable
story. Information came from Riccardo’s own family history,
along with priceless material collected in a unique book on Italo
published by Lucca’s “Istituto Storico” (at right).
Meanwhile, I worked to collate all the clues to try to uncover the
provenance of Italo’s instruments.
This unique collaborative project further
resulted in the first “bi-lingual” article on Harpguitars.net.
This feature is certainly the first presentation on Italo Meschi in
English, and, translated back into Italian by Riccardo, we proudly go
full circle, sharing new information with Italo’s own countrymen.
Update, Spring, 2007:
January of 2007, this online article was discovered by another part of
Italo’s extended family. In
this case it was the family of Italo’s sister, Erina; specifically,
her son, Al Braccini. Al
graciously provided new information and additional never-before-seen
family photos from when Italo stayed with his family in
Then, just as I was editing this article with Al’s new information, original co-author Riccardo emailed with some intriguing new information on Italo’s instruments. Look for “Update”and pink text throughout the article and Sources/Quotes page for new information. There are several new photographs as well throughout the page.
For me, the original reminiscences that Riccardo sent to me present an eloquent introduction and general picture of this remarkable man. Let us begin there.
Meschi : Musician, Songster of the
Lucchese Earth. (Troubadour from the Heart of
(watercolor of Italo by Tista Meschi , Italo's second cousin)
Italo Meschi - my paternal grandmother’s first cousin…an exceptional man, a poet, and above all a harp guitar player par excellence.
In the 1930’s, Italo even had the honor of performing in front of the English Royal Court. Yet, he refused to go after riches and maintained an ascetic and humble lifestyle. For his concerts he accepted only small offers so that he could afford the bare minimum. He wore sandals and linen clothes in summer and in the middle of winter. He lived in a small, austere apartment on the top floor of a 12th century Saint Gervasio tower in Lucca, a well-preserved medieval city in Tuscany, surrounded by walls and buttresses. Had Italo Meschi pursued fame, he would probably be well known in the world of past music performers…but that was unlike him.
In Italy and Great Britain Italo Meschi was described as the “Last Italian Troubadour.” A London critic wrote: “Meschi’s playing and singing reveal a true artist of first rank and child of nature.” Italo Meschi was tall and handsome with blue eyes and long reddish-blond beard and hair. Another critic wrote that Meschi’s artistic attributes were quite as impressive as his appearance. A San Francisco reporter in 1937 described his beard as a beard which “outbearded even the best ever seen in Oberammergau.” Around Lucca he was also known as “Il Cristo” (“The Christ”). His poetry reveals a love of nature and particularly for his Tuscan countryside.
Italo came from a Tuscan family of modest financial means that, however, claimed a cousin who was a sculptor, another who was a painter, a third who was an early designer of the legendary Vespa scooter and….if one wants to, my grandmother Assunta a controversial fervent idealist and leftist activist.
Meschi is said to have built his own harp guitar (which he called a “chitarpa”) with which he played and sang Tuscan folk songs, Italian 17th and 18th century classics, and Mozart, Schubert, Wagner, etc. He transcribed the works of great masters into music that could be played on his chitarpa. According to critics, his interpretation of these works was “sublime” and reflected his philosophy and lifestyle.
Meschi’s mere presence in Lucca irritated the Fascist authorities. His messages of peace and non-violence ran counter to the political mainstream of the time. My grandmother recalled that during one of his performances Italo, offended by the late arrival of the local fascist notables, abruptly left the stage at the great astonishment of the spectators, thus giving an example of courage in totalitarian times.
To make things worst for himself, Italo was also a fervent follower of the economist and idealist Agostino Maria Trucco (1865-1940) father of a school of economic thought known as Hallesism. It called for the establishment of a Supranational Entity aimed at promoting public welfare through the fair and efficient regulation of international production and exchange, at the advantage of both sellers and buyers. In 1928, in his book “The Fear to Enrich” Trucco foretold: “Without a great happening capable of creating a new economic and financial order, fatally and at the latest in 1938-39, the greatest world war, presently in gestation, will break out.”
Meschi was a deeply religious man, but with occasional lapses from the sacred to the profane. Certainly, he was not too enthusiastic of organized religion as shown in one of his writings in praise of Girolamo Savonarola, the monk burned at the stake for heresy in 1498. My grandmother recalled her cousin’s irreverence toward the clergy, such as the time when the police showed up at his doorstep on top of the Saint Gervasio tower. He had just been denounced by the nuns from the convent below for obscene behavior in public; actually for simply sunbathing in peace naked on the rooftop – in the middle of winter, by the way! Furious, Italo asked the police to go and tell those [expletive deleted] to cast their eyes downward in prayer instead of sinning by peeping upward at naked men!!
Unfortunately, Meschi’s messages of peace, non-violence and equality were also misunderstood in the United States where, in 1936-37, he had been holding free concerts to “disempower” the rich and to allow the poor from all ethnic groups to attend. Italo recounted that at one point ─ during what was to be his last U.S. tour as a “wandering minstrel,” ─ he had been holding more public meetings than concerts. Perhaps, this is the reason behind an attack by hooligans that resulted in his harp guitar being torn to pieces and his subsequent extradition while in San Francisco.A heartfelt thanks from Gregg Miner and I goes to the “Istituto Storico della Resistenza e dell’Eta’ Contemporanea in Provincia di Lucca and to its Presidente Lilio Giannecchini for having kept alive Italo’s legacy by publishing in 1993 his poems and writing found scattered in the tower after his death on October 15th, 1957. The collection of “poems, reflections and eye-witness accounts” provides a precious insight into Meschi’s personal life, including his love for an elusive woman. The 95-page volume includes articles from French, British, American and Italian newspapers such as Lucca’s “La Nazione” praising the art as well as “the sincere and incorruptible spirit of Maestro Italo.”
Italo in St. Peter's Square in 1948. His poem reads:
here I sit
Rome, August 1948
The tower of Porta San Gervasio, where Italo spent his last years, is part of Lucca’s 12th century walls.
by Gregg Miner
Buried within the many quotes,
articles and stories that he translated from the book on Italo Meschi, Riccardo
discovered one I found especially intriguing.
It concerned Italo’s years in elementary school where he studied music, particularly singing.
Further, Italo had “kept alive inside himself the hope of one day
touring the world accompanied by a guitar.” And he had
“also come to study modifications to the normal guitar, something that could be
used for open-air serenades or at country inns, to make it an instrument of
an altogether different look and melodic capabilities."
What was the youngster dreaming up? Could young Italo have been aware of harp guitars from the very
beginning?! There is no way to know. He was clearly enamored of the guitar,
purchasing his first instrument at the age of 14. The price was 11 lire, “one
of which he earned at the rate of one half-penny a night carrying sacks of flour
for a corn merchant,” the remaining cost being paid by Italo’s uncle. A
music store is mentioned as the source, and it is likely that this was a simple,
Italo with his custom chitarpa, circa 1925.
In 1913, Italo moved to the growing Lucchese community in
San Francisco, to continue his oldest yearning - the desire to see the world. It
is not known whether he took his guitar with him, but the book hints that he did
Regardless, he did carry a wealth of songs in his head - traditional
peasant songs of his native Italy, accumulated throughout his two dozen years.
In the San Francisco Public Library, the 26-year old Italo now learned to
capture this music, teaching himself how to read and write musical notation.
The San Francisco Public Library where Italo learned how to read music - today an Art's Museum.
By an interesting coincidence,
Italo’s stay in San Francisco – from roughly 1913 to 1918 – happened to
coincide with the city’s Pan Pacific International Expo, a huge, permanent
fair which ran from February 20th until
December 4th in 1915. One popular component of the PPIE were the numerous Hawaiian
musicians and bands which performed in certain areas.
It happens that a number of these musicians played the instruments of
Chris Knutsen – Hawaiian guitars, harp mandolins (and perhaps harp
ukes), and most importantly… hollow-arm harp
guitars with extra bass strings.
Riccardo agrees that Italo would likely have visited, if not frequented, the
event. If so, it is well within the realm of possibility that he saw and heard
these instruments. Besides the Hawaiian musicians at the Expo, café musicians
in San Francisco may also have been playing Knutsens. Did Italo see a Knutsen
harp guitar? It’s certainly fascinating to contemplate. If he had not already
encountered Italian harp guitars, it is entirely possible that a Knutsen
harp guitar may have provided the inspiration for Italo’s future
Did Italo see San Francisco musicians playing Knutsen harp guitars like this one?!
Whether Knutsen-inspired or derived from Italian instruments, the visual appeal of the hollow-arm forms of harp guitar must have been on Italo’s mind when he returned to Italy after the first World War (after November, 1918). Before long he either A) built, or B) designed and commissioned his own harp guitar. Unfortunately, details are entirely absent, and we are left with only tantalizing and conflicting clues. These clues, mostly from specific quotes in the book on Italo are fully detailed at the end of this article, along with my observations and theories about each. Some of the sources contradict each other, and it may be that we may never come close to resolving the provenance of Italo’s curious instruments. The only hard facts at hand are the photographs, which show that Italo had at least two harp guitars throughout his career – an original, likely one-of-a-kind, early instrument, and later, the unmistakable “ala di aquila” (eagle’s wing) model produced by famed Italian luthier Luigi Mozzani.
One fairly consistent motif from many
sources is that Italo christened his instrument the “chitarpa.”
I believe he created the catchy and poetic name for his first instrument,
and later used it to refer also to the Mozzani (Mozzani would have sold his
“Aquila” model as a chitarra-lyra, another poetic but less than ideal name for a one-arm
harp guitar). This first chitarpa,
pictured at right, is what I believe to be the original instrument built after
Italo’s return to Italy when he was around 31 or 32. Italo spent this period in early 1919 recovering from a
pulmonary inflammation brought on from breathing coal dust on the “Duca
d’Aosta, while shoveling coal to pay
for his return voyage. One source states that while recovering,
he not only began to grow his hair and beard again, but also "bought
a guitar that he had built custom-made." Another
source calls the chitarpa an “original guitar which he conceptualized and
built,” while another says Italo
“invented” it. Riccardo’s
own family members always insisted that Italo built his chitarpa.
Part of the confusion is that the family and many reporters only saw or
remember the Mozzani Aquila, which Italo had for decades, and in fact, kept
until his death. This was obviously
a production model, several of which came out of the Mozzani workshop.
Thus the memories and myths about Italo “building” his own harp
guitar were likely from earlier stories about his first harp guitar.
did Italo in fact build this instrument? The
photograph shows an unaltered instrument with a one-piece top for a continuous
body and arm. The design and shape of the sub-bass extension and string
attachment looks completely original, yet in keeping with other Italian
makers’ harp guitars (see Gallery Form
3a). In other words, a custom-built
Italian instrument that, so far, does
not match that of any other known specimens or makers.
Was Italo a woodworker or guitar builder?
If so, there seems to be no other mention of it, outside the “built his
chitarpa” stories. Again, we
don’t believe Italo would ever have claimed false credit for it; on the other
hand, the specifics could have been corrupted in translation and re-telling over
the years. Likely the truth
lies somewhere in-between or in the details; for instance, perhaps Italo worked
directly with an established guitar maker, utilizing the builder’s shop, tools
and guidance. Thus,
Italo could have conceptualized the instrument and either built it himself, or
commissioned it to be built. When
writers state that Italo “invented” the chitarpa, the meaning may have
originally been that Italo created an “original harp guitar,” or perhaps simply
that Italo “invented” the term
“chitarpa.” Note that this
original harp guitar has four sub-bass strings, as opposed to a Mozzani’s
three; and that it is played standing up, resting on a specially made stand (as
were many Italian harp guitars, such as those by both Mozzani and Settimo Gazza).
|One might expect that the history and provenance of Italo’s next harp guitar – the outrageous Mozzani “ala di aquila” – would be less of a puzzle. Unfortunately, there are new mysteries surrounding this one. We can lay to rest the question of whether Italo built or invented this one, if we accept that all such stories refer to the earlier harp guitar above. Further, the Aquila is clearly a “production model” from the Mozzani workshops; one of at least four specimens I’ve cataloged on this site (see Mozzani's Harp Guitar Forms: Single Arm).|
Italo's Mozzani Aquila survived until his death in 1957, when it was handed down to Riccardo Marasco, who still owns it.
this model was first introduced, and when Italo acquired his
are key questions I have been yet unable to answer.
There is a fascinating theory presented by the guitar’s current owner,
Riccardo Marasco, who was given the Aquila by Italo’s brother Mario following
Italo’s death. Marasco tells me: “Based
on facts that I gathered, Luigi Mozzani built that instrument on a design
inspired by Italo Meschi, who loved living in the woods playing to the plants
and the animals, solitary like an eagle; and for this reason he named [his
instrument] “eagle’s wing.” Though
this story sounds decidedly romantic, it is not implausible.
Did the two men know each other? Could
Mozzani have known Italo well enough by reputation, or revered him personally or artistically enough, to create a special
instrument for him? I’d guess
that a Mozzani Aquila model would be just about the fanciest, most expensive
harp guitar one could find in Italy.
Did Italo, in sandals and linen, wander into the Mozzani showroom and
plunk down the lire for a new instrument, or was this a bequest from one artist
to another? Was it, in fact, the
first Aquila prototype – created specifically for Italo?
Such tantalizing history!
|There are two other mysteries concerning the Mozzani. One is the question of which harp guitar he toured with when. The other is whether there was a second Mozzani Aquila. Both questions arise from a remarkable story told by Guglielmo Lera in the Italo book. In it, he describes an encounter with a “strange seller of musical instruments” while searching for guitar strings at Italo’s request. These were “Pisastro Yellow Label” strings – a very specific brand that Italo favored, but apparently no longer available. The seller brought out a guitar with “twelve strings” on it, which he proceeded to remove, explaining that they were the very strings from the guitar Italo last played in his 1937 San Francisco concert! The “strange seller” had apparently attended this concert, where afterwards he had “removed (the strings) from ‘his’ guitar in San Francisco, torn to bits by some hooligans the day when, after the last concert, he was forced to leave America.” Though we have found no news articles about vandals destroying Italo’s guitar, he was, in fact, “kicked out” of the U.S. shortly after this last concert. Could the story be true? How the mysterious vendor came to be in San Francisco to salvage Italo’s strings (not to mention the passion for Italo’s music that he would go to the trouble) seemed to me a remarkable story and incredible coincidence! But his presence there and later presence in Lucca is not all that unusual. As Riccardo explains, “Italian-Americans tended to immigrate in certain areas in the U.S.: Sicilians in New York, Abruzzesi in Cleveland and Lucchesi in the San Francisco area and the wine country. Though many did return to Tuscany, there is still a large Lucchese community in northern California.”|
If this story is true, then which
harp guitar was destroyed in 1937?
first it seemed
obvious: the first custom instrument, whose whereabouts are now unknown.
reporter from the San Francisco News interviewing Italo for the upcoming concert even
provides a description: “an especially built instrument with four extra strings, the whole
mounted on a wooden stand.” The
reporter must have gotten this
description either from Italo, or from seeing the actual instrument in the room.
Case closed? However, another reporter, well known music critic Alfred Frankenstein,
actually attended the concert (which
is clear from his detailed review). He
describes Italo’s harp guitar as “a
guitar that looks like a wing of the roc that carried Sinbad on its back.”
Surely this could only have been the Mozzani Aquila!
Update, 1/20/2007: And so it was! Proof finally came from another family member, nephew Al Braccini, who supplied the photograph of Italo at his Berkeley home in 1937. NEED MORE about how who the family is, and that he stayed there, across bridge, etc. He is seen with a Mozzani Aquila that appears to be identical to the one he holds in his later photograph. Braccini is fairly certain that Italo had only the Mozzani, and does not remember a stand (though its presence cannot be 100% discounted). So what is the answer to this riddle? Of my original hypotheses, we can now discount Italo touring with two guitars (his original and the Mozzani). He clearly played the Mozzani, and therefore we must discount the first reporter’s wrong description (the only real explanation for which would be if he was mistakenly provided an older photo of Italo with his first instrument on the stand). The only remaining question then is whether there were two identical Mozzanis. There are two simple answers: Yes – if the story told by the “strange seller of strings” is true; No - if we discount it. So far, there is no way to prove or disprove it. I find no real weight for choosing either possibility. I will say that I find the condition of the Mozzani seen in the last photograph remarkably pristine for an instrument of such age that had seen extensive touring. Even more remarkable is that the instrument is still in use and in great condition. After Italo passed away (in 1957), his brother Mario gave the Aquila to singer-guitarist Riccardo Marasco, who performs with it to this day.
by Gregg Miner
his general elementary school studies in music and singing and learning
to read and write music in the San Francisco Public Library in his
mid-to-late ‘twenties, Italo never took a music lesson.
Presumably, he was completely self-taught on the harp guitar.
Surviving guitar notation (below) proves that Italo utilized his
sub-bass strings, in the standard Mozzani tuning of D-C-B (descending
from the low E on the neck). His
first custom instrument had a fourth sub-bass string, likely an A.
Judging from many “ear-witnesses,” he was undoubtedly a very
expressive player, getting a dynamic range of tone out of his
(see Quotes for sources)
not just tone, but technique, as judged by many critics:
final testimony from the “strange seller of musical instruments” who
allegedly salvaged the strings from Italo’s destroyed guitar:
concerts consisted of both an instrumental segment and a vocal section.
At least while using his first custom harp guitar with its
incorporated stand, Italo performed standing (and was once quoted as
sing best standing up.”). Less
critiques of his vocal performances are preserved, but one gets a sense
that his voice perfectly complemented his harp guitar:
Italo's 1937 San Francisco concert announcement includes his complete program.
Italo sang and played a wide variety of music, his concerts consisting of equal parts vocal music and harp guitar solos. His preferred material ranged from famous Italian composers of the 16th and 17th centuries to works by his favorite classical composers; Bach, Beethoven, Chopin and Mozart. Specific pieces mentioned in his earlier performances are Italo’s own Nocturne, a Berceuse by Bonacorsi, Manon’s Reve, a Scarlatti aria, Castagni’s Serenade and Petite Melancholy by Sor. A similar and varied program survives of his final 1937 concert in San Francisco (at left). The majority of Italo’s harp guitar transcriptions were his own arrangements, and he also composed original music on occasion. A surviving manuscript of one of these is shown below.
Italo proved to be a unique and popular performer, not only in his own country, but through Europe and abroad. His performances began soon after his return to Italy after World War I, and the subsequent building of his first harp guitar. Performances began in the main cities of Italy and France, and then progressed to London (where Italo would play for the English Royal Court) and other European cities. In a January 1926 concert, where Italo "repeated his success of four years ago," a reviewer notes his “notably improved instrument.” This would strongly suggest that Italo was using his custom harp guitar in 1922, and by 1926 had switched to the Mozzani. 1927 through 1936 appear to be quiet years for publicized concerts. In 1936, Italo began his tour of the Untied States, beginning in New York, and “proceeding state to state.” He finished the tour in San Francisco in January, 1937, after which he was finally extradited for his radical ideals. In the following years Italo spent much of his time in the Alps, playing in local inns while keeping a low profile from the authorities. In 1943, he retired to a home in the Lucca countryside at La Cappella, where writer Guglielmo Lera mentioned seeing a "guitar with a wing with lively feathers.” (the Mozzani, naturally). Finally, in 1950, Italo moved to the tower of Porta San Gervasio, part of Lucca’s 12th century walls. On October 15th 1957 Italo passed away at age 70, leaving his Aquila harp guitar and his tower room full of personal poetry and music. One of these pieces, in Italo’s own handwriting and notation, is presented here. The music is written for harp guitar in standard tuning with three sub-basses, tuned D-C-B (descending), while the lyrics were written for Italo’s nephew, Pietro Meschi.
Ninna Nanna by Italo Meschi and Gino Carter.
dormi bambarin la la la la la la la
sleep, little baby la la la la la la
by Riccardo Sarti)
Tombolin, Befanin and Tamprussin are fables characters. The lullaby is written in Lucchese dialect, which is very similar to the official Italian language. The Italian language is in reality the Tuscan dialect as spoken in the nearby city of Siena. - RS
|Guglielmo Lera mentioned how Italo had planted fruit trees from California at La Cappella. Quoting Italo: “I brought this one from Los Angeles. That one there comes from San Francisco….how sweet were their marmalades.”||
This stone cottage at La Cappella may be the very building Italo lived in from 1943 to 1950. -RS
The Medieval city of Lucca, which is completely
surrounded by thick walls. In the background, right arrow, the hills where
Italo worked in his orchard mentioned in the poem and , left arrow , "Carignano"
where he is now buried. The higher
mountains are part of the Appennine chain, but due to their high elevations
and snow white marble color they called the Apuan Alps. According to Riccardo
, it is an excellent locale, only ten miles from the Ligurian sea.
At left: Italo's parents.
This photo from the early 1950's shows Italo in his mid-sixties in his favorite place, the woods and olive groves. The picture comes from Mrs. Ida Meschi Mungai of Santa Cruz, California, whose father just happened to also bear the name Italo Meschi! Ida's cousin Angelina (Angie) Battistini (pictured) and her husband, John Battistini, visited Italy often and, according to the story, met the guitarist at a picnic - and because his name was the same as her uncle, the photo was taken. Alas, Ida does not believe there is any relation.
Chronology of the
Life and Times of Italo Meschi
(compiled by Riccardo Sarti and Gregg Miner.
Includes dates of all known concerts)
|December 9th, 1887||0||Italo Meschi born in Lucca, Tuscany.|
|1893-1898||6-11||Attended Elementary Schools. Studied music, particularly singing.|
|1901||14||"Bought his first guitar for 11 lire."|
|1909||22||He grew his beard for the first time and found employment as a Customs agent in Lucca.|
|1911-1913||24-26||Dreaming of visiting Florence, he joins the Italian State Railways.|
|1913-1918||26-31||“The Great Jump:America” He learned to read music at the San Francisco Library.|
|Soon after Nov 18th, 1918||31-32||Returned to Italy.|
|Early 1919||31-32||Back in Italy with a pulmonary inflammation brought on from breathing coal dust on the “Duca d’Aosta” during his return voyage from New York to Genoa. While recovering he began to grow his hair and beard again. Most importantly, he "bought a guitar that he had made in his own way."|
|c.1919||32||Went to London.|
|October 10th, 1921||34||Concert in Livorno, Tuscany.|
|c.1922||35||Concert in Paris.|
|April 16, 1923||36||Concert in Pisa, Tuscany.|
|1922-1925||35-38||Photo of Italo with elaborate Italian harp guitar - single-piece top construction.|
|March 1, 1925||38||Concert in Rome.|
|January 30, 1926||38-39||Concert in Paris.|
|Presumably after the above guitar was in use, but before it was possibly destroyed in San Francisco||?||Obtained Mozzani chitarra-lyra “Aquila” model.|
|March 5, 1926||39||Concert in Rome.|
|July 3, 1926||39||Concert in London.|
|1927-1936||39-49||He most likely spent most of this ten-year period in Lucca and the surrounding area.|
|1936||49||U.S. tour starts.|
Last concert in San Francisco, then immediately extradited. His guitar (or one of his guitars) was supposedly destroyed after his last concert.
|1940||53||Back in Lucca (Notice from the Fascist Authorities).|
|1943-1950||56-63||Lived in the Lucca countryside at “La Cappella."|
|1943-1944||56-57||Wrote anti-war letters and poems at La Cappella.|
|1945-1950||58-63||Writer Guglielmo Lera mentions in his account a "guitar with a wing with lively feathers" in Italo’s country home at La Cappella.|
|1950-1957||63-70||Moved back to Lucca center in his “Tower."|
|October 15, 1957||70||
Italo Meschi died. Buried in Carignano, 5 km in the hills NW of Lucca.
|1967||Italo's brother Mario gave the Mozzani Aquila to Riccardo Marasco.|
Sources: Quotes and Notes
Special thanks to:
“Istituto Storico della Resistenza e dell’Eta’ Contemporanea in
Provincia di Lucca and its President Lilio Giannecchini.
"The intention and the desire have been to render immortal Uncle Italo, for me an outstanding man." —Laura Bedini.
||About the Authors
The two authors, who share a love of history and the arts, also both happen to work in the Aerospace industry.
Riccardo Sarti is Italo
Meschi’s third cousin. He
is the Director for Research and Information of the
In Lucca, 2004
Pretending he's in
Tuscany with his Mozzani, 2005
|Gregg Miner is the
creator and editor of this site.
His daytime employer is Northrop-Grumman, where he works as a Manufacturing Engineer in the Guidance Systems area. Recently, his group saw their new Hemispherical Resonating Gyro successfully get NASA's Deep Impact flyby spacecraft to it's rendezvous with the comet, Tempel 1.
|Finmeccanica's subsidiary "Alenia Spazio, for which he still works, was also involved in many U.S. and EU space missions, including Cassini Huygens. From 1997 to 2002, he was Alenia Spazio's rep in Washington, a very challenging task dealing with NASA and with the Office of Defense Trade Controls. Riccardo jogs daily and loves kayaking and bicycling.||He is constantly at work in his off hours researching, writing, corresponding, collating and publishing everything related to the harp guitar, besides other musical instrument projects. Occasionally, he gets around to playing some of his nearly 200 rare instruments; at work currently on a huge all-Knutsen CD project.|
|If you enjoyed this page,
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Copyright issues and use/ownership of images: All information provided on this site is copyrighted by Gregg Miner, with the exception of Forum messages which are public domain. All images used within this site are copyrighted by Gregg Miner, unless copyrighted by the original image owner. Images within the Knutsen Archives are accompanied by full owner credits. Images on the remainder of the site include, at the end of their file name, the name of the person, author, or source from where the image was obtained. These sources may or may not be the copyright owners of the image, and are accurate only so far as I have been able to determine. Permission to use any images from this site must be granted by either the original owners or myself. Those images taken from books, web sites or other published sources without express permission are reproduced here for research purposes only, and are displayed at low (72dpi) resolution only. If anyone believes an image belonging to him or her is mis-credited, or violates his or her use policy, please contact me for correction or removal.
All Site Contents Copyright © Gregg Miner, 2004,2005,2006,2007,2008,2009. All Rights Reserved.
Copyright and Fair Use of material and use of images: See Copyright and Fair Use policy.