‘…On 11 March 1913, Russolo issued his manifesto L’arte dei rumori (The Art of Noises), dedicated to fellow Futurist composer Francesco Balilla Pratella. Expanded into book form in 1916, it theorized the inclusion of incidental noise into musical composition. With Ugo Piatti, he later invented the intonarumori, noise-emitting machines that allowed the modification of tone and pitch. In 1913-14, Russolo conducted his first Futurist concerts with numerous intonarumori. Audiences in Milan, Genoa and London reacted with enthusiasm or open hostility. Russolo started to contribute to the magazine Lacerba, where in 1914 he published his Grafia enarmonica per gl’intonarumori (Enharmonic Notation for Futurist Intonarumori), which introduced a new and influential form of musical notation…’
‘On March 30, Berlin-based composer and sound installation artist Valerio Tricoli offers a special program for Lampo to mark the 100th anniversary of Luigi Russolo’s Futurist manifesto, The Art of Noises (March, 1913). Russolo’s manifesto introduced the idea of noise-sound into musical discourse, creating the conditions for radical advancements in sonic art and informing movements in musique concrète, electronic music, and the practices of American experimental composers such as John Cage. In the essay, Russolo lays the foundation for a new music based on what he calls ‘Futurist noise-sound,’ claiming that all sounds of life—whether natural or derived from man-made devices or machines—should be incorporated into music. He also strongly encourages the development and design of new instruments capable of producing new kinds of noises suitable to the mise en être of the expanded acoustic imagination of the composer. Russolo himself, some months after the publication of the manifesto, would present his own Intonarumori (Noise-tuners).
This Lampo program will be divided in two parts: first, An Homage to Luigi Russolo, a live electro-acoustic improvisation for electronic devices, self-built instruments, found sounds, and voice, to be followed by La Solidità Della Nebbia, a multi-channel diffusion of the tape composition.
Valerio Tricoli (b. 1977, Palermo, Italy) is a Berlin-based composer, improviser, producer, sound installation artist, sound engineer, and curator bridging musique concrète and conceptual forms of sound with a radical interest in how reality, virtuality, and memory relate to each other during the acoustic event. He mostly uses analogue electronic devices including reel-to-reel tape recorders, synthesizers, microphones, light effects, and ultrasonic speakers. However, the structure of the setup is ever-changing, seeking multiple relations between the performers, the device, and the space in which the event takes place. Tricoli is one of the founders of 3/4HadBeenEliminated and the Bowindo label / collective. In 2012, he presented a new interpretation of the seminal 1952 John Cage electro-acoustic tape piece Williams Mix with Werner Dafeldecker, which premiered at Maerz Musik, Berlin. He is currently working on two compositions for piano and electronic sounds (with Anthony Pateras) and on a concrete music cycle inspired by the Book of Qohelet. Tricoli made his U.S. debut at Lampo in March 2008, when he performed Take Thy Horoscope and Walk, a multi-sensorial set of live concrete music in quad sound with strobe lights.
Founded in 1997, Lampo is a non-profit organization for experimental music, sound art and intermedia projects.’