The famous intonarumori (or “noise intoners”) of the
could be considered the earliest “techno music” instruments of the twentieth century. The first public performance of Luigi Russolo's Intonarumori project took place in 1913 at Modena's Teatro Storchi, Italy.
Luciano Chessa conducted this new orchestra of early Futurist pieces as well as specially commissioned works from legendary contemporary musicians and composers from the experimental music world: Einstürzende Neubauten frontman and Nick Cave collaborator Blixa Bargeld, Deep Listening pioneer
Pauline Oliveros, Faith No More and Mr. Bungle vocalist Mike Patton, experimental saxophonist
Ulrich Krieger, singer and composer Nick Hallett, contemporary classical and electronic musician James Fei, jazz singer and guitarist Margareth Kammerer, composer, instrument builder, and performer Ellen Fullman, composer, musician and soundcdesigner Teho Teardo...
Luigi Russolo wrote in 1913, pointing out that the silence of earlier times was forever lost with the invention of the machine in the nineteenth century: “The variety of noises is infinite,” he noted, predicting the exponential increase in volume in the twenty-first century. “If today, when we have perhaps a thousand different machines, we can distinguish a thousand different noises; tomorrow, as new machines multiply, we will be able to distinguish ten, twenty, or thirty thousand different noises, not merely in a simply imitative way, but to combine them according to our imagination.”
That's what Luciano Chessa and his big orchestra of very special guests/performers reproduced on this record.
