Piano and/or accordion, harmonica and live-electronics
piano, accordion, harmonica, flutes, live electronics with percussion instruments and/or double bass
piano, accordion, mouth organ, flute, live electronics, drummer or percussionist
10 Hour Workshop on how to listen to a comparative in classics of jazz music
A journey across music history from it’s own origin until today.
1st meeting: Renaissance origin of black music
2nd meeting: Classicism and Baroque music main jazz composers
3rd meeting: Romanticism spirituals and blues
4th meeting: music in early 1900th Jazz
5th meeting: contemporary music jazz and rock
The offer is comprehensive of: lessons, instruments, amplification, recording and bibliography.
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. Following the main formation used to perform such a service:
- “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: PA Amplification (appropriate to the place) + 3 stage monitors. A Grand Piano (Steinway, Yamaha, Fazioli). Microphones for Drums, Piano and Battiston’s voice. Stereo DI BOX for Accordion.
On anything about music!
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
Direction and voice: 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.
- Grand Piano (provided by organizer)
- Amplification (appropriate)
- 2 monitors
- 2 microphones for voice Shure Beta 58
- 2 microphones for Shure SM57 Piano
Performance duration: 70 minutes, more or less.
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