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Nuovo Stupore


Mauro Buttafava – Marta Sacchi            2014

The project Nuovo Stupore was born from the meeting of Mauro Buttafava, guitarist and percussionist, and Marta Sacchi, clarinetist and saxophonist, both authors of original music, which have found an inventive harmony in the creative contest of the Artemista association, even sharing a common musical’s sensitivity, based on listening and impromptu sound narration. Indeed, starting from the composition of music for theater,

the duo has found its own sensitive dimension, made of unspoken stories which begin from delicate acoustic atmospheres and open to hypnotic sound masses composed of textures of

loops that are built live, permeated by timbre and rhythmic assets.

The resulting music combines world and popular flavors with jazz, electronic and contemporary incursions.

La regina - Mauro Buttafava - Marta Sacchi
Lucis in fundo - Mauro Buttafava - Marta Sacchi

Mauro Buttafava: guitars, keyboards, percussion


Marta Sacchi: clarinets, sax, vocals




Alessandro Bono: piano, electronics, cello


Marco Fior: trumpet


Massimo Pintori: drums

Pueblo azul - Mauro Buttafava
Fiesta de colores - Mauro Buttafava

Notes by Franco D'Andrea:

"My roots are jazzy and, since this music comes from a hybrid of African, European and American cultural contributions, I am certainly  able to appreciate new musical syntheses that are taking place or could happen in the future. I use the word "synthesis" because, in my opinion, this is a different concept from what is commonly called "contamination".

For me, "Contamination" evokes the idea of ​​an intercultural experimentation laboratory, while "synthesis" means the original artistic result that uses a new language, the outcome of previous experiments.

I believe that this last concept fits better than the first to define the area in which this important recording by Mauro Buttafava belongs..

This young musician, working with variegated instrumentation and colors, rhythms, melodies, which testify a research that considers various cultures, succeeds here in conveying the idea of ​​a coherent, compact and personal musical language.

Non-tempered instruments, coming from various cultures, the sounds of nature and everyday life, European-style instruments such as acoustic guitars, cellos, trumpets, come together to create a variegated and at the same time coherent musical chromatism.

The simple modes and melodies utilized in this long composition made up of many shorter pieces take on an utterly original flavor thanks to a skillful mixture of "tempered" and "not tempered" elements. The result is a very pleasant timbral unpredictability. A dynamic used with extreme attention and musicality and a refined rhythmic conception give the last important touch to this fascinating musical panorama. "



Mauro Buttafava            2002

Azul, the color of a story that happened in Brazil some years ago:


in a landfill in the city of Goiana, two men find what looks to them like a treasure in a tube. A blue powder that, if sprinkled on the skin, makes it shine in the dark, and for this reason magic. Children and adults play with dust and the neighborhood is celebrating. A few days later, a doctor discovers that it is cesium 137, a radioactive material. The "gift" had arrived, who knows how, from Europe. More than a hundred people remained contaminated and some died.

This story and the play "La Pollera" by Gianluigi Gherzi, produced by Casa degli Alfieri, inspired by it, are the starting point of the musical project Azul by Mauro Buttafava.


"Mauro's music, many years later, fed on this story.

Thinking that one day the blue could return to being heaven and not radioactive brilliance."

G. Gherzi

Azul is a unique musical tale made up of many styles, in which the richness of colors is given by the numerous musical instruments and their combinations, realized with different compositional methods. the album brings together different musical souls of the world: the improvisation and the rhythms of the South American music, already "mixed" form in which the African, indigenous and colonial roots are found, with European music from electronics to minimalist structures, from classical rigor to jazz improvisation.


A characteristic of this work is that of adapting the creative process and the techniques of realization of each piece to its narrative content, in order to achieve the greatest unity between language and the object of the story.




The encounter-clash between the North and the South of the world, which the deeply emblematic image of Azul reflects, is musically expressed by the combination of cello and berimbau, trumpet and bottles, flutes and drums, vocals and electronic bases, in a musical synthesis that runs through languages.


Federico Bassetti: flutes, bottles

Angelo Berardi: violin, noises

Alberto Bolettieri: trombone

Mauro Buttafava: classical and electric guitars, berimbau, percussion, shakers, mbira, bombo, Mexican scacciapensieri, ocarina, bottles, saùn, vocals, amphora, quica

Ubaldo Chirizzi: cello

Daniele Cortese: fretless bass, double bass, shakers, bottles

Marco Fior: trumpet

Giambattista Galli: voice, clown's organetto

Alberto Lo Gatto: double bass

Agostino Marino: susaphone

Gianni Marziliano: cello

Renata Mezenov Sa: voice, mandolin, Mexican harp, nanga, bottles

Painé: Scratch

Mauro Sansone: drums

Gak Sato: electronics and effects

Massimo Deriu: bottles

Milvys Lòpez: cuban dialogues

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Cerchio Di Fate - Mauro Buttafava

Per mondi segreti


Mauro Buttafava            1999

"Soon they reached the grassy plain, and the dance began."

James Stephens - The Crock of Gold


Music, born for theater, narrates in this album a meeting between distant worlds, between magic and reality. Source of inspiration was the novel "The Crock of Gold" by James Stephens, a fable of wisdom where men and fairy creatures, spirits and philosophers, gods and police meet and collide, an allegory of the difficult union between intellect and instinct. So, the musical journey takes the impervious roads of the contamination between genres, which brings together the timbral experimentation of large self-built metal instruments with the colors of the medieval Celtic songs of Ireland, ranging from the string quartet to the electronic hip-hop sounds, from shamanic world music to psychedelia. In this reinterpretation of imagery evoked by the vision of the director Gigi Gherzi, the suggestions of the psychedelic images of Matteo Guarnaccia and the characters and the puppets of the Teatro del Buratto both have been crucial.

An Anfa (La Tempesta) - Mauro Buttafava

Mauro Buttafava: guitars, andreophone, percussion, balafon, mbira, quena, amphorae, didjeridoo, bells, mandolin, Korg M3R, Korg X5-DR, Rhodes Seventhythree, Akai S2000

Gianni Marziliano: cello

Angelo Berardi: electrified violin

Fernanda Calati: voice

Federico Bassetti: transverse flute, Peruvian transverse

Giovanni Zerbi: sax soprano

Ubaldo Chirizzi: cello

Giambattista Galli: voice

DJ Mesta: scratch and effects

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Vera - Mauro Buttafava

Tempo di giochi


Mauro Buttafava            1996

The album, born from the co-production between Mauro Buttafava and three Italian companies (Quelli di Grock, Erica Giovannini, Teatro Città Murata), contains the music for three theater and dance performances that share the same musical poetics inspired by popular tradition and to its medieval roots.

Tempo di Giochi represents a first stage of work on the composition of simple and incisive themes, which could remain in the listener's memory. Thus, the emotional memory is associated with a precise musical memory, which, in the unfolding of a narrative, elaborates and regenerates the emotions coming back with the return of the themes. Music and theater are here closely linked both in the construction, which reflects the three shows for which it was born, but also in the relationship between the musical elements and the spoken and sung interventions of the actors that merge almost to create a single dramaturgy. The album is built on a relationship of alternation between the freshness of improvisation and the emotional and narrative synthesis of the themes, to arrive at the compositional elaborations of the exposed elements. The music blends in itself various cues that touch both popular and cultured music at the same time, inventing a "dirty but alive" language as far as performance is concerned.

Nel Frattempo, Non Mi Avranno - Mauro Buttafava

Voices: Giuseppe Adduci; Eugenia Amisano; Daniele Braiucca; Stefano Bresciani; Alessandro Diliberto; Erica Giovannini; Elena Lolli; Stefano Orlandi

Federico Bassetti: transverse flute

Mauro Buttafava: guitars, amphora, andreophone, vocals, percussion, timpano

Alberto Mari: Renaissance flutes

Gianni Marziliano: cello

Rosa Pavone: cello

Mauro Sansone: drums, percussion

Julius Tamos: chromatic harmonica

Giovanni Zerbi: saxophones

Vocal Ensemble XXI directed by Andrea Raffanini

brani sotto licenza SIAE n° 2000
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