Uploaded August 2019 | Updated September 2026, 2 weeks ago
From the LP Futura Poesia Sonora (Cramps Records, Milan)
Arrigo Lora-Totino born in Turin in 1928, founder and editor of the experimental literature magazine "antipiugiù" (4 numbers from 1960 to 1966). In Turin in 1967, with the musician Enore Zaffiri and the plastic operator Sandro De Alexandris, he founded the "Studio di Informazione Estetica" for research on the interrelationships between visual and phonic poetry, plastic and electronic music.
From the LP Futura Poesia Sonora (Cramps Records, Milan)
Arrigo Lora-Totino born in Turin in 1928, founder and editor of the experimental literature magazine "antipiugiù" (4 numbers from 1960 to 1966). In Turin in 1967, with the musician Enore Zaffiri and the plastic operator Sandro De Alexandris, he founded the "Studio di Informazione Estetica" for research on the interrelationships between visual and phonic poetry, plastic and electronic music.


![Vladimir Mayakovsky: Hymn to Judge (1920)
Vladimir Vladimirovich Mayakovsky (b. Bagdalia 1893 - d. Moscow 1930) was a poet, dramatist and painter and the leader of the Russian cubo-futurist group - the equivalent of Marinetti in Italian futurism. At nineteen, he signed the first cubo-futurist manifesto A Slap in the Face of Public Taste (1912) which proclaimed the right of poets to extend the volume of vocabulary with arbitrary and derived words (neologisms). After that, he figured in a whole series of public performances along with other cubo-futurists who painted their faces, wore top hats and velvet jackets, carried wooden spoons and radishes and recited verses with a serious, solemn and unsmiling demeanour. He designed his own futurist suit from the idea of a yellow tie, astutely making it enormous: I change the tie into a blouse and the blouse into a tie. With the arrival of the October Revolution, he made it his own, proclaiming: it is our revolution, founding the group The Futurist Communists (KomFut) and writing verses like: The streets are the brushes well use, our palettes the city squares . In his poetry recitals his physical presence was monumental, and he moved like a pugilist. His voice was similarly powerful, as a newspaper of the time said, f rom his quadrangular mouth there fly, not words but thundering stones from an Alpine torrent. In 1923, he published For the Voice which comprised a number of his poems laid out as visual poetry and made into in a book-object by the artist EI Lissitzky, in which the language floats somewhere between constructivism and suprematism. The poem Naval Romance was included in the book, although it had been written in 1915, in his earlier, futurist period. This poem can be translated literally from the Russian as Military-Naval Love [Voenno-morskaia liubov], an untraditional play on war and romance, love and sexual passion. Mayakovsky makes great use of puns, verbal pirouettes and absurd mixtures of sounds and this poem is also very rich in rhyme; at times he creates half-invented words in a cubistic jigsaw puzzle (Juliette Stapanian-Apkarian). At other times he plays with words for their sonorous- visual character as in, for example, the repetition of the letter r (in the Russian text of the poem r-r-r-astakaia) - a letter in the Russian alphabet Mayakovsky advised was good to use, although it wasnt very common. The poem is recited by Mayakovsky and was recorded onto a wax cylinder phonograph in 1920, along with four other works. The originals have been lost, but fortunately, they were transferred to sound film some time in the 1930s, and have thus been preserved. Mayakovsky committed suicide in 1930, possibly a combination of a failed romance and his increasing difficulties with adapting to the rules imposed by official authorities. He left a letter: ... as they say, the incident has ended, the boat of love ran up against daily life. Vladimir Mayakovsky: Hymn to Judge (1920)](https://i.ytimg.com/vi/rFEuLK-tzhQ/mqdefault.jpg)







![Josef Anton RIEDL: Komposition Für Konkrete Und Elektronische Klänge
Deutsche Musik Der Gegenwart Serie I/2
Josef Anton Riedl – Komposition Für Konkrete Und Elektronische Klänge / Tonbänder Und Für Verschiedene Instrumente Und Stimmen / Live Nr. 4 III
Composed in 1963-68/69
Josef Anton Riedl (born 11 June 1929 in Munich [1927 is also given as his year of birth]) is a German composer.
Following a period of studies at the Hochschule für Musik und Theater München and in courses given by Hermann Scherchen in Gravesano, Riedl, influenced by Carl Orff und Edgar Varèse, devoted himself as a composer particularly to percussion and Lautgedichte (sound poetry) (Schmidt 2001).
In 1950 he was co-founder of the German Section of the Jeunesses Musicales, together with Herbert Barth, Reiner Bredemeyer and Eckhart Rolfs (Schmidt 2001). Starting in 1952 he did pioneering work in the use of concrete and electronic sounds, joining Pierre Schaefer’s Groupe de Recherche Musicale in 1953 (Schmidt 2001). In 1955 he worked in the electronic studio of NWDR in Cologne, and spent some time in 1959 in Scherchen’s experimental studio in Gravesano (Schmidt 2001). From 1959 until its closure in 1966 Riedl was director of the Siemens Studio for electronic music (Schmidt 2001). The concert series Neue Musik München / Klang-Aktionen initiated by Riedl in 1960 (Schmidt 2001) continues to this day.[citation needed] In 1967 he established the Musik/Film/Dia/Licht-Galerie group, and in 1974 in Bonn founded the Kultur Forum, which he directed until 1982 (Schmidt 2001).
As a teacher Riedl influenced the work of musicians well-known today, such as Lorenzo Ferrero and Michael Lentz, for whose Bachmann Prize–winning book Muttersterben (2001) he created the music. Lentz currently performs as saxophonist in Riedls ensemble.[citation needed]
Riedl also contributed to film music, for example to several episodes of the 13-part Die zweite Heimat—Chronik einer Jugend (1992), the second in Edgar Reitzs Heimat series Josef Anton RIEDL: Komposition Für Konkrete Und Elektronische Klänge](https://i.ytimg.com/vi/u23-s2GCu5Q/mqdefault.jpg)