In a letter dated 1 October 1922, Filippo Tommaso Marinetti wrote to inform the composer, theorist and writer Franco Casavola that: "I've listened to Tankas, Quatrain, Gioielleria Notturna, Leila and Muoio di sete on the piano.
In 1924, he collaborated with Anton Giulio Bragaglia and Sebastiano Arturo Luciani to produce the manifesto Le Sintesi Visive della Musica (The Visual Synthesis of Music), which was published in the periodical Noi.
Certainly his status equals that of the five composers defined by Massimo Mila as 'la generazione dell'Ottanta' : Gian Francesco Malipiero, Alfredo Casella, Ottorino Respighi (who taught Casavola), Ildebrando Pizzetti and Franco Alfano.
Certain key Futurist works by Casavola are lost, among them Anihccam del 3000, the mechanical ballet subtitled Interpretazione e riproduzione dei movimenti e rumori delle macchine, whose costumes have become enduring icons of futurism.
However, the surviving scores include a Fantasia Meccanica for orchestra, and music for a stage production of Tre Momenti by Luciano Folgore, which also incorporated Luigi Russolo's revolutionary intonarumori (noise generators) and the Danza dell'Elica for ensemble.
There is also the complete score of Piedigrotta, a ballet inspired by the omonimopoema parolibero of Francesco Cangiullo, in which Casavola combined the piano with traditional Neapolitan instruments such as the Scetavaiasse and Putipù, in an attempt at polyrhythmic structure.