t age fifteen, in 1913, he finished his violin studies at the Santa Cecilia conservatory with the maestros Hércules Galvani and Cayetano Troiani. Despite his age he began his professional activities at cinemas and theaters, alternating with the most important instrumentalists of that time at those appearances: Raúl Spivak, Juan José Castro, Luis Gianneo, Julio Perceval, Jorge Fanelli, Francisco Amicarelli (pianists); Astor and Remo Bolognini, Bruno Bandini, Miguel Gianneo (violinists); Ennio Bolognini, José María Castro, Adolfo Morpurgo, Washington Castro, Luis W. Pratesi, Ramón Vilaclara (cellists), etc.

In the mid- 1919 the famous dancer Isadora Duncan arrived in Buenos Aires and he appeared as violin soloist in her shows at the Opera Theater, and the following year he was also appointed as lead violin of the well-known Anna Pavlova at the Coliseo. This renowned Russian dancer hired him for her American tour of Uruguay, Brazil, Venezuela and Puerto Rico.

In 1921, at the Opera, he conducted the orchestra of the French variety company led by Madame Rasimí, and its vedette was Mistinguette because of the absence of the principal actress. Those appearances were reprised in 1922 with Follies Bergere; in 1923 with Moulin Rouge and in 1924 with Casino of Paris.

In 1922 he joined the first national symphony orchestra in which he appeared until 1929, and in 1923 he joined the Argentine Quartet of Chamber Music conducted by León Fontova.

He began his appearances on radio in 1925 in programs of classical music on the Cultura, Fénix,Municipal radio stations, etc.

He played under the direction of famous maestros like Ernest Ansermet and Arturo Rubistein at the Odeón and traveled to Chile and Uruguay with the operatic company of the Colón.

In jazz he started around 1919 and played it for forty years, alternating it with classical music. He appeared on radios, theaters, dance halls, jazz concerts and in a movie: Así es el tango.

During his music activity he composed tangos, most of them were not published on paper but released on records by the best orchestras: “Pompón”, “Caperucita”, “Inquietud”, “Pucherito”, “Oh corazón”, “Un caprichito”, “Bajo el disfraz”, “Victoria [c]”, “Brasil”, “Besos [c]”, “Soltero”, “Migaja”, “Mi última noche”, “No te olvidarás” and, among some others more, the one entitled “Normiña” which was recorded by Carlos Gardel.

In an interview made for this work, about the above recording he said: «I have been acquainted with Gardel for some time and with the activity of our milieu we were becoming closer friends and we used to dine at the La Terraza on Corrientes and Paraná. One evening, Carlitos, Juan Carlos Bazán and I were having dinner, and Gardel, who was very fond of talking about tango, began to chat about the latest Max Glücksmann contest. "Che Eduardo, what a nice tango you presented! What a pity it didn’t have a better luck... Give me the sheet music and the lyrics and I’ll record it". —"What lyrics?" I asked. "It has none! "— Hasn’t it?, asked and replied Gardel: give me a part and we’ll make it". And on that very evening he went to look for someone who would do it and came across Antonio Capone who was the doorman of the Ta-Ba-Rís and who had already written other ones. Due to Carlitos’s idea “Normiña” has lyrics. I had composed it two years before in Brazil on somebody’s request, but it had never been published».

Armani was born in Buenos Aires on August 22, 1898 and there he died on December 13, 1970.