[SYNAESTHESIA - MUSIC - POST-DIGITAL BOOK] Visualizzazione 4. op. 200 per pianoforte [Visualization 4. op. 200 for piano]

First edition of the piano piece written in graphic visualization. Lombardi's interest in the possibilities of visualizing music and, conversely, setting pictures to music began early on. In Florence, he studied not only music but also painting. His involvement with Italian Futurism on the one hand and the advancement of computer technology on the other were significant for his development. Lombardi's exploration of the diverse relationships between sound and image led not only to a large number of drawings and paintings, but also to realizations in video and computer graphics as well as other works created with the help of digital technology. Examples of this include concerts in which he visualized the movements of string instruments with the help of light beams or in which he had the sounds of four piano pieces transmitted through a microphone and converted into images on an LCD monitor in real time. The idea of "ideographic notation", which served him as a visual-spatial representation of his musical compositions, was essentially the result of his intensive study of Marinetti. (Carlo Piccardi and Luciano Chessa, Daniele Lombardi (1946-2018), in: International Yearbook of Futurism Studies, Volume 9 2019, pp. 339-348.)

Lombardi writes in the introduction that he "wrote this work for piano in ideographic synthesis notation in order to offer the viewer and listener a double graphic and tonal signifier." It is preceded by a legend in which the graphic elements are explained in more detail. The plates are intended to be read like sheet music. However, pitch and intensity are to be determined by the pianist himself.

As of March 2024, OCLC lists only two copies (Metropolitan Museum and Italy). First edition of the piano piece written in graphic visualization. Lombardi's interest in the possibilities of visualizing music and, conversely, setting pictures to music began early on. In Florence, he studied not only music but also painting. His involvement with Italian Futurism on the one hand and the advancement of computer technology on the other were significant for his development. Lombardi's exploration of the diverse relationships between sound and image led not only to a large number of drawings and paintings, but also to realizations in video and computer graphics as well as other works created with the help of digital technology. Examples of this include concerts in which he visualized the movements of string instruments with the help of light beams or in which he had the sounds of four piano pieces transmitted through a microphone and converted into images on an LCD monitor in real time. The idea of "ideographic notation", which served him as a visual-spatial representation of his musical compositions, was essentially the result of his intensive study of Marinetti. (Carlo Piccardi and Luciano Chessa, Daniele Lombardi (1946-2018), in: International Yearbook of Futurism Studies, Volume 9 2019, pp. 339-348.)

Lombardi writes in the introduction that he "wrote this work for piano in ideographic synthesis notation in order to offer the viewer and listener a double graphic and tonal signifier." It is preceded by a legend in which the graphic elements are explained in more detail. The plates are intended to be read like sheet music. However, pitch and intensity are to be determined by the pianist himself.

As of March 2024, OCLC lists only two copies (Metropolitan Museum and Italy).