By Gaspar Sanz (ed. by Raymond Burley)
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Extra info for Anthology of Selected Pieces (Transcribed and edited for the guitar)
Soffici reacted energetically, raining blows to right and left with his cane. Before long it was hellish pandemonium: tables were being overturned, trays were sent flying, coffee-cups and glasses were breaking, and people ran out the door screaming. 34 The Futurists were ordered to return to Milan by the next train. But when they arrived at the station they found Soffici there, ominously waiting with some friends, all armed with canes. Sensing trouble, the carabinieri intervened and locked up the two groups in a waiting room till a police commissioner could arrive.
We must not,” he said on this occasion, “remain solely contemplative. We must not simply exploit our cultural heritage. We must create a new heritage to place alongside that of antiquity. ”54 To some observers, this signaled a marked shift in policy. Giuseppe Bottai, who had briefly passed through the Futurist ranks in 1919 and 1920 and who was now the editor of a journal called Fascist Criticism (Critica fascista), solicited comments from leading Fascist cultural figures, including Marinetti.
Around the same time, the painter Balla and another new Futurist recruit, Fortunato Depero, began to create what they called “plastic complexes”—assemblages, in modern parlance. But with the outbreak of the war in Italy in mid-1915, energies were soon diverted to the conflict. The Futurists who were in Milan volunteered together: Marinetti, Boccioni, Russolo with his assistant Piatti, and Sant’Elia, as did others who were on the fringes of the Futurist group (Mario Sironi, Achille Funi). Enrolled in the Lombard Battalion of Volunteer Cyclists, they went to Peschiera, on the shores of Lake Garda, to receive training as alpini (mountain troops).
Anthology of Selected Pieces (Transcribed and edited for the guitar) by Gaspar Sanz (ed. by Raymond Burley)