1912 photograph of Futurists in front of Le Figaro‘s Paris offices. From left to right: Luigi Russolo, Carlo Carrà, Filippo Tommaso Marinetti, Umberto Boccioni, and Gino Severini — Source.
“Luigi Russolo (1885–1947) was well into a successful painting career when he turned to music in his 1913 manifesto The Art of Noises (L’arte dei rumori). Announcing an intention to ‘enlarge and enrich the field of sound’, the Futurist polymath waxed poetic about the modern city’s sonic landscape — ‘the throbbing of valves, the bustle of pistons’, and ‘the shrieks of mechanical saws’. For Russolo, the noisy nature of everyday, industrializing Europe offered new ways of perceiving the acoustic world and a means of shaking concert music loose from its stagnant orchestral roots. ...”
Luigi Russolo’s 1914 patent for a class of intonarumori — Source.
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