Sylvano Bussotti’s Pictograms

We often talk about notes. Overbearing subject, the note: a measurement, an exact frequency, a recognizable and codable object, that would qualify as the main parameter and overshadow everything else. Then we can refer to sound, and in this way we bring to light what was concealed at the side of the note, and beyond it. But it would be worth talking about the gesture – which causes that sound; and about the body, which makes that gesture.

Body and gesture (and therefore also theater) are pivotal concepts in Sylvano Bussotti’s poetics, a creator hanging between music and visual arts. In the fourth of the historical Five Pieces for David Tudor, a real drawing set in a pentagrams’ system, the double caption sheds a light on the double personality of the author: “1949 drawing” and “piano adoption: March 27, 1959”.

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