Giovanni Fontana – “Epigenetic Poetry” LP
- Audiocollage no.1 (1968) – 1:57
- Poema strumentale (1969) – 1:49
- Tracciapensieri (1976) – 1:33
- Radio/dramma: Cancellature (1977) – 2:17
- Campananotte (1979) – 5:19
- Radio/dramma: Bzzuiiii (1980) – 3:17
- Radio/dramma: Sirene (1980) – 1:34
- Alalìa (1983) – 3:55
- Poema a naso (1983) – 2:51
- Nu chahutant le piano (1998) – 1:23
- Sipario 4 – Voci 3, Perdita di fiato (2000) – 2:52
- Mask (2009) – 2:28
- Per segrete stanze (2009) – 10:33
- Vesunna (2014) – 2:00
First Edition (315 copies)
• 16 page 9″x9″ pamphlet with 3 critical essays:
“Hypervox and electrophonic mask” by Giovanni Fontana
“Giovanni Fontana: Poetry as Action and Sound” by Patrizio Peterlini
“Giovanni’s Adventures in Mediumland” by Jean-Pierre Bobillot
Color images (score excerpts, artwork, etc.)
and Program Notes written by Fontana
• Remastered for vinyl by Sean McCann
• Digital download coupon (WAVs / MP3s)
An anthology documenting the sound works by the Italian sound poet Giovanni Fontana (b. 1946). These pieces, dating from 1968 – 2014, are scarcely available; culled from cassette magazines and art-book compendiums, along with two unreleased recordings.
Fontana has been a pioneer of Italian visual poetry, sound poetry, and experimental theater since the mid-1960’s. Together with peer Adriano Spatola, Giovanni worked on the publication Tam Tam (founded in 1972). He also rode in the same wagon as Arrigo Lora-Totino, splicing, pasting, and folding the compass of Italy’s intermedia.
In one light, Fontana’s voice erects a brutal and guttural effigy of man, primitive and hermetic. Yet, stepping to the side – one can see the thin strands of support bolstering such combustibles. As chested-strings of a piano, Fontana strikes firmly across the resonating spread of discovery and acceptance.
In addition to voice; jaw-harp, guitar, whistle, piano, and harpsichord are featured in these recordings, though the musical elements are secondary to the voice. Mouth, throat, and even nose [Poema a naso features a microphone inserted in the nostril] take the stage-light.
The interconnection between Giovanni’s visual and audio artwork is significant. Words twist and dissolve; blotted with ink, soaring across an empty score. This album acts as a frame for these 14 pieces, which can be seen as they are heard – spilling from speakers as letters meeting paper.