Futurism
Music movement around noise music in the 20th century.
What it means
Futurism designates an artistic movement of the early twentieth century that arose in Italy and made technology, speed, and the sounds of the modern city the subject of art. In music this meant the demand to use noises as material of equal standing: machine sounds, din, signals. For this purpose noise generators of their own were built with which pieces were performed; almost none of them survive, so that the sound can be reconstructed only indirectly.
Musical use
The immediate effect of the movement remained limited, but its consequences were far-reaching. The boundary between tone and noise was fundamentally called into question, and thereby the way was prepared for musical directions that use noise as material — from musique concrète to electronic music. The inclusion of sirens, machines, and everyday sounds in orchestral works of the 1920s also belongs in this context. Historically, moreover, the movement's connection to the political currents of its time is to be noted, which is treated at length in research.
Performance practice
Works of this circle demand instruments and devices that often no longer exist; performances therefore rest on reconstructions whose foundations should be disclosed. Where scores call for noise sources, settle procurement and handling early and rehearse the volume relations in the room. Treat noises as exactly as notes: entry, duration, and end are part of the execution. Explain the historical context in the programme.
Bear in mind that the effect of such works depends strongly on the room and the placement: noise sources radiate directionally and can hardly be readjusted in balance. Rehearse the volume relations on site. Settle early which devices are available and who operates them. With works with intonarumori, find out whether reproductions of the instruments are available, since originals hardly survive. For the audience a brief note on the historical context is helpful, because such music is otherwise heard as mere noise.
Settle early who operates the noise sources, and rehearse their entries like every other part of the work.