I don't know if you agree, but analyzing Battiato's early experimental compositions, we can encounter the use of concrete and electronic sounds; we are talking about the '70s, where we can hear some effects:
"Anafase" starting from 2:25:
"No U turn" from the beginning until 1:10
"Il mercato degli dèi"
The sonic "reverbs" mixed with children's voices in "Nel cantiere di un'infanzia"
reminded me of Stockhausen's "Gesang der Jünglinge"; the recordings of "Rien ne va plus", "Ethika fon ethica", and "Goutez et comparez"
the first works of musique concrète by Pierre Schaeffer (see the "Cinq études de bruits" from 1948) and Pierre Henry.
I heard that in the past, Franco Battiato won some kind of important composition competition, in the realm of art music and/or electro-acoustic. I have a somewhat confused memory, perhaps the facts won't be exactly these; in any case, what is certain is that in the field of composition (as they say in my parts), "nu è nu facce te fessa" (trans. "he is not a fool", he knows his stuff).
D
Dino
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Reply 3 by Dino
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In an old RAI TV program, a very young Franco Battiato appears, around the mid-'60s, as a guest (along with his band of the era) at an elementary school. He speaks of absurd things passed off as who knows what kind of metaphysical visions. In the video, dozens of boys and girls then appear, writhing to the rhythm of his music. In those same years, in the USA, Leonard Bernstein was doing a great work of musical outreach with his "Young People's Concerts," which were broadcast live on television every Sunday. With his grand work, Bernstein created at least two generations of listeners and lovers of great music, as well as budding musicians and then, most likely, future professionals.
He may have won composition contests and he isn't a fool, but I read two extremely different worlds
