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Those who love tango often ask a question: Is Tango the music that Astor Piazzolla composed and played? Others, for their part, make a categorical statement: "I do not like Piazzolla's music". Some soften it: "I do not understand Piazzolla's music," and they end up, "Orla ends up getting bored and tired."
We hear badertions and questions like this in meetings or with friends. However, in the recitals we give to my children, the listening public listens attentively to this music; Apparently, this does not bother or tire him. And no one asks if this is the tango you are listening to.
To begin, two points must be established:
In Piazzolla's music, there are tangos and others that are not tangos.
In this music there are songs that are easy to listen to and others that require great concentration for the borders.
Piazzolla's music has three essential aspects that explain its complexity.
First, it should be noted that Piazzolla grew up in New York and that all have received the influence of jazz. When I was in Harlem to listen to Duke Ellington and many others.
Secondly, Piazzolla loved clbadical music. Its authors were Igor Stravinsky and Bla Bartk, and its main teachers were Alberto Ginastera, in Buenos Aires, and Nadia Boulanger, in Paris.
Finally, Piazzolla was a tango. He played tango in his New York home since he was very small (his father or Julio de Caro), he learned to play bandonen when he was very young, at the age of 18 years he entered the Anibal Troilo orchestra and formed his own orchestra. who was playing tango
What music could emerge from the mix of these three aspects?
One, very personal: that of Astor Piazzolla
Our goal is to show that it is possible, hearing the works we will indicate, to listen with pleasure to the music of Piazzolla
In the evolution of tango two clearly differentiated tendencies are noticed:
a) That of the musicians who maintained a traditional style to play it, without introducing great innovations in the harmonic, in the rhythmic nor in the the melodic, interpreting music that would lead to easy listening and an attractive dance.
b) That of others who, on the other hand, were looking for a rich harmony, rhythmic variations and innovative melodies from the beginning of the genre, producing a ngo renovation.
They belong to the first trend musicians like Francisco Canaro, Alfredo de Angelis, Juan D & # 39; Arienzo and many others. In the second, creators like Horacio Salgn, Julio of Caro, Osvaldo Pugliese and others
Piazzolla is a disciple of Pugliese, and this one is Julio de Caro
Life and musical miracles
Astor Piazzolla was born in Mar del Plata in 1921.
When he was four, his family emigrated to New York. All lived – except for a brief return to Argentina – until 1937, when his parents returned to Mar del Plata. That is, Piazzolla was raised in New York.
When he returned to Argentina, he played the bandonen.
In 1939, when he was 18, he was alone in Buenos Aires. to live on his band – in a privileged time, at the dawn of the golden decade of tango, which in fact was more than a decade since it was extending from 1940 to about 1955.
It was as in 1939 could be part of the important tango activity that took place in Buenos Aires. He listened to musicians such as Julio de Caro, Pedro Maffia, Pedro Laurenz and Ciriaco Ortiz. A few months after his arrival, he joined Anbal Troilo 's orchestra. Better, Impossible
His stay at Troilo lasted until 1944, when he decided to emigrate. He spent two years accompanying an orchestra with singer Francisco Fiorentino, until forming his own orchestra, the Orchestra of 46, in search of his own way
In 1949 he dissolved the 39; orchestra with determined intention to leave the bandonen Clbadical music
As, the beginning of the decade of 50 found Piazzolla by composing clbadical music. However, in the same period he composed, among others, three tangos that were fundamental in his musical evolution: "Show", "Preprense" and "Triunfal".
In the year 1953, Piazzolla, with his symphonic work "Buenos Aires", won the first place in a contest for the prize Fabien Sevitzky, which allowed him to obtain a scholarship from the French government from a year study in Paris to study music with Nadia Boulanger, great teacher of composer.
known to many, it was fundamental to what will come later in Piazzolla's work. The latter, determined to be a clbadical composer, exposed his work to the teacher. She replied that they were good, that they were well written, but that they lacked "soul". And I asked Piazzolla what music he was playing in Buenos Aires. Tmidamente I answered this tango to him and, before a request of the professor, interpreter "Triunfal". Nadia Boulanger's answer was immediate: it was her music and she advised him not to leave it.It's the beginning of the real Piazzolla, which definitely imposed itself in contemporary music, s & rdquo; Away from the features of clbadical clbadical orchestra.
An important event marked the work of Piazzolla: the death of his father, Nonino, with whom he had a deep emotional connection. Using parts of a previous song called "Nonino", with a somewhat diffuse melody, he composes his best tango: "Adis Nonino."
The revolution that Piazzolla produced in the history of tango begins in the 60s, preceded by "Adis Nonino" in 1959. From there, it is obvious that he is on a new path, that of his own music. There was the beginning and also the attempt to bring clbadical tangos to versions that, let us say it clearly, distorted them excessively.
In 1974, Piazzolla moved to Rome, to Viadei Coronari, an ancient street near Piazza Navona, and he devoted himself to composition. Deca – and rightly so – feels at the center of the world
Tuesday, June 6, 1989, Piazzolla's Sextet performed at the Teatro Oriente in Santiago de Chile
The frenzied activity developed by Piazzolla to play in demanding recitals and traveling on exhausting excursions weakened his health, which was already deteriorated. On August 5, 1990, in Paris, he suffered a stroke that paralyzed his right side of his body. After a long period of illness, he dies on July 4, 1992.
A possible repertoire
The ultimate goal of these lines is, as we have said, to listen with pleasure to the music of Astor Piazzolla.
we believe that the following tangos are indispensable or precocious, which constitute fundamental stages through which the kind of transit:
El enterriano, by Rosendo Mendizbal (1897)
The Chip, by Vicente Greco (1907) [19659002] The black eyes, also by Greco (1910)
The reason, by Juan Carlos Cobin (1914)
Gallo ciego, by Agustn Bardi (1916)
The cachila, by Eduardo Arolas (1919) [19659002] Chiqu, by Ricardo Brignolo (1920)
My refuge, by Juan Carlos Cobin (1922)
Amurado, by P. Maffia and P. Laurenz (1925)
Bad junta, by Julio de Caro and P. Laurenz (1927)
Ventarrn, by Pedro Maffia (1933)
Like two foreigners, by Pedro Laurenz (1940)
Negracha, by Osvaldo Pugliese (1948)
Malan draca, by Pugliese him (1949)
The Yumba, the essential tango, by Pugliese (1946)
It is necessary to listen to all the tangos named, and p read once, to perceive how they influence directly – a little more, others less – in the creations of Piazzolla
Now we can get to Piazzolla
This is not easy to listen to his music. His creations are complex and some very far from the tango. Our goal is to introduce ourselves in this music and to enter by the most enjoyable songs to odo, to start enjoying it.
The works that we suggest to listen for the moment are:
1. Triumphant
2. Prepayment
3. What will happen
4. Adis Nonino
5. Cramp
6. Decarsimo
7. Fugue and Mystery
8. Libertango
9. Years of loneliness
10. Cit tango
11. Oblivion
12. A day of peace
13. Bandonen
14. Ballade for a madman
15. Chiquiln of Bachn
16. The sad fat
17. The four port stations:
a. Primavera portea
b. Verano Porteo
c. Otoo porteo
d. Winter Gate
18. Southern Suite:
a. I'm going back to the South
b. Dreams
c. Back to love
d. Sadness, separation
We believe that the 24 works in the list are within earshot and can be a good start.
The plays need to be heard more than once, because a musical theme tends to "not come in" at the first audition. It is necessary to repeat the same piece several times to appreciate it. This way of working achieves our goal
. It's a matter of discussion about what comes after Piazzolla.
According to some, his work ended with him. Their creations are the product of personal experiences and, because they are personal, they can not be repeated in another individual. That's why, they say, no one will be able to compose like Piazzolla anymore. And others add that no one can come back to play these songs like Piazzolla, it is very difficult to repeat the magnetism that their performances and the personal way bandonen played.
However, there are those who think differently and showcase sets that have been structured in the manner of the Piazzolla Quintet and play their music as they did (we can mention the group La Camorra, as an example).
The many additions to Piazzolla's works add to it. repertoire of various ensembles, including some foreign tango, with artists like Al DiMeola, Yo-Yo Ma and others. In addition, there are musicians who continued to compose in the style of Piazzolla
On this point, it is difficult to issue an opinion and it is the pbadage of time that will dictate the last word
Piazzolla grew up in New York. of jazz
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