Solo concert
(Piano and/or accordion, harmonica and live-electronics)
Duo
(piano, accordion, harmonica, flutes, live electronics with percussion instruments and/or double bass)
Trio
(piano, accordion, mouth organ, flute, live electronics, drummer or percussionist.
Classes
“Guide on how to listen to music comparative classic jazz”
A journey across music’s history from it’s origin until today.
Work-project for a 10-hour total class
First meeting: Renaissance – origin of black music
Second meeting: Classicism and Baroque music – main jazz composers
Third meeting: Romanticism – spirituals and blues
Fourth meeting: music in early 1900th – Jazz
Fifth meeting: contemporary music – jazz and rock
Offer: lessons, instruments, amplification, recording and bibliography.
Show Weill/Battiston
In the project Weill/Battiston there is a summary of the German composers, melodies that aren’t modified, jazz, some compositions and free improvisation sustained with Battiston’s arrangements; the characteristic of this musical project is the fusion between mezzo soprano Monica Saronni and the jazz trio.
The difference between jazz and opera makes a perfect synthesis of expressive language. This performance relies mainly on the sensitivity of the musician chosen by Battiston. Here is represented the German, French and American era, the text is still the original, Battiston’s direction creates a unique work of art.
"The Contact" Armando Battiston (pianoforte fisarmonica e flauti) Andrew Cyrille (batteria e percussioni)
"Quintetto Echoes" Armando Battiston (pianoforte e flauti) Angelo Olivieri (trombe) Pasquale Innarella (saxofoni) William Parker (doublebass) Hanid Drake (drums)
"ARA-TRIO" Armando Battiston (pianoforte fisarmonica flautie voce) Roberto Bellatalla (doublebass) Marco Ariano (batteria e percussioni)
"Armando Battiston Duo" Armando battiston (pianoforte, fisarmonica, armonica a bocca, flauti e live electronics) Andrea Zuliani (batteria e percussioni)
"TRIO ELISSE" Armando Battiston (pianoforte, fisarmonica, armonica a bocca, flauti e keybords) Cristiano Da Ros (contrabbasso) Andrea Zuliani (batteria)
Stage equipment
Amplification (appropriate). Three monitors. Drum microphones, piano and solo and Battiston’s voice. DI BOX stereo for accordion. Grand piano.
Meetings
Meetings on anything regarding music.
Musical Theatre by Armando Battistion
Divàn del Tamarit
Original text by Garcìa Lorca
Music by Armando Battiston
Played by live electronics, piano and flute by Armando Battiston
Directed and voice by Sabina Tutone
Fusion between music and poetry follow the rules so word become sound and sound makes a charming background. Like in the text the musical trend is clear using the voice like an acoustic event filtered through electronic instruments develops a dialogue with musical instruments acoustic and electronic. Battiston’s musical language has the Spanish influence of Lorca’s poems. He elaborates with jazz creativity an his traditional culture. Divàn del Tavarit published after 1940 with sections garcelas and casidas there is interaction in this book. It tells of Andalusia and Arabic culture stimulating for formal development Arabic culture Lorca uses digs in a homosexual new dimension of eroticism in an obscure way and as if in conflict, typical binomial love/death.
Stage equipment
Grand Piano (provided by organizer)
Amplification (appropriate)
2 monitors
2 microphones for voice Shure Beta 58
2 microphones for Shure SM57 Piano
Performance of 70 minutes app.
