Giorgio Battistelli

Born in 1953, he obtained his diploma in composition under the guidance of Giancarlo Bizzi at the Alfredo Casella Conservatory in L1Aquila, where he also studied the history of music and piano. In 1974 he was one of the founders of the Edgard Varese Research and Musical Experimentation Group and of the OBeat 721 Instrumental Group in Rome. He was awarded the OCervo per la Musica Nova1 Prize for his research into musical languages (1991) and the siae Prize for the opera Keplers Traum (1992).
In 1993­96 Giorgio Battistelli served as Artistic Director of the Cantiere Internazionale d1Arte in Montepulciano. He has been Artistic Director of the Orchestra della Toscana since 1996.

Selected works: Uno e trino for percussion (1975), Comme un opéra fabuleux for percussion (1979), Il racconto di Monsieur b for orchestra (1980), Experimentum mundi, opera (1981), Aphrodite, monodramma di costumi antichi, according to Pierre Louys (1983), Jules Verne, fantasia da camera in the form of a spectacle for percussion trio, two voices, trumpet and piano (1987), La fattoria del vento for orchestra (1988), Onde a terra se acaba
e o mar comeca for orchestra (1988), Anima for percussion (1988), Psychopompos for six percussionists (1988), Anarca for orchestra (1988­89), Le combat d1Hector et d1Achille, Représentation de corps et de mémoire for two musicians-actors (1989), Keplers Traum, chamber opera (1989­90), Erlebnis for nine instruments (1989­90), Globe Theatre, ballet (1990), Ascolto di Rembrandt for voice and small orchestra (1991), Il1y a un firmament for chamber orchestra (1991), Teorema, parabola in musica after Pier Paolo Pasolini (1992), Heliopolis I for four percussionists (1992), Frau Frankenstein, monodramma for voice and orchestra (1993), Paz Music for speakers and orchestra (1993­94), Begleitmusik zu einer Dichtspielszene for twelve instruments (1994), Prova d1orchestra, six music scenes after Federico Fellini (1994­95), Teta veleta for string orchestra and percussion (1995), Die Entdeckung der Langsamkeit, instrumental theatre to a poem by Sten Nadolny (1996), Tre voci for reciter and orchestra (1996), Oriazi e Curiazi for two percussionists (1996), The Cenci, instrumental theatre after Antonin Artaud (1997), Giacomo mio, salviamoci! for voice, orchestra and video projection (1997­98), Und wenn wir1s überlegen for soprano and sampler (1998), Il fiore delle Mille e una notte, ballet after to Pier Paolo Pasolini (1998­99), Da Pasolini, suite for choir and orchestra from the ballet Il fiore delle Mille e una notte (1999), Etüde from Die Entdeckung der Langsamkeit for orchestra (1996­2000), Impressions d1Afrique, instrumental theatre after Raymond Roussel (1999­2000), Auf den Marmorklippen, music visions after a poem by Ernst Jünger (2002), The Embalmer, monodramma giocoso da camera for reciter, orchestra and live electronics (2002), L1autunno del Patriarca (in preparation; premiere scheduled for 2004).

Erlebnis
This short composition is a kind of miniature, an aphorism containing the elements of a small Oevent1.
The listening process is determined by the dramatic strands that develop simultaneously, forcing the listener to assign each instrument certain roles and functions. Erlebnis might appear like a noise anticipating an event, or like the echo of a past event; it should certainly be perceived in its temporal contraction, a few-minutes long synthesis of a drama.