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Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla

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Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2008 Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective Alejandro Marcelo Drago University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Latin American Languages and Societies Commons, Musicology Commons, and the Music Performance Commons Recommended Citation Drago, Alejandro Marcelo, "Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective" (2008). Dissertations. 1107. https://aquila.usm.edu/dissertations/1107 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: May 2008 COPYRIGHT BY ALEJANDRO MARCELO DRAGO 2008 The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago Abstract of a Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2008 ABSTRACT INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago May 2008 Tango performance practices and notational conventions included in the orchestral works of Astor Piazzolla belong in two groups. The first is tango performance manner, or the specific way of rendering the written musical text; and the second is tango special effects, which could be defined as a group of non-traditional (for European music) instrumental techniques specific to tango music. Both groups are part of a performance style that has been poorly systematized, if at all, and kept alive only by means of face-to-face transmission. The purpose of this dissertation is to identify and analyze the challenges that Piazzolla faced while including these performance practices into his symphonic compositions, as well as to provide the orchestral conductor with the basic elements for a successful approach to performance. TABLE OF CONTENTS ABSTRACT ii LIST OF ILLUSTRATIONS vi LIST OF MUSIC EXAMPLES vii TERMINOLOGY xii CHAPTER I. INTRODUCTION 1 II. AN INTRODUCTION TO ARGENTINE TANGO (FROM ITS Beginnings TO 1955) 6 Etymology of the word Historical antecedents of tango Demography and tango The route to social acceptance The bandoneon III. PIAZZOLLA: THE MAN AND THE ARTIST 20 Biography Piazzolla as composer and performer Piazzolla as innovator and his place in the history of tango Piazzolla and the bandoneon school A history of Piazzolla's ensembles The problem of musical notation in Piazzolla IV. TANGO MANNER OF PERFORMANCE AND RHYTHMIC PATTERNS OF NUEVO TANGO 57 Elements of tango articulation Note preparation and cromatico pick-ups Rhythm, meter and time signature in Piazzolla Yumba Ornamentation and rubato V. TANGO SPECIAL EFFECTS 125 Yeites and Piazzolla - Introduction Lija or Chicharra Latigo IV Tambor (Drum) Octaving - Octavado, also Ciriaco Octave Other special tango effects VI. SUMMARY 167 BIBLIOGRAPHY 169 v LIST OF ILLUSTRATIONS Figure 1. The bandoneon 19 2. Classical approach to the string 60 3. Tango vertical attack 61 4. Alteration of bow angle (A and B: initial and final positions) 62 5. "Digging" effect with subsequent cut-off 62 6. Bandoneon: Left hand buttons 109 7. The chromatic scale in the right hand of the bandoneon, opening 112 8. Optimal Lija spot 131 vi LIST OF MUSIC EXAMPLES Table 1. Horacio Salgan. Don Agustin Bardi- beginning. Piano reduction 63 2. Invierno Porteno - mm. 69 - 71. Realization of arrastre by means of the orchestration 64 3. Long-short paired notes 66 4. Paired notes and their realization. A) Danzarin, by Julian Plaza. B) Bahia Blanca, by Carlos Di Sarli, C) Decarisimo, by Astor Piazzolla 67 5. Fuga y Misterio - beginning. A: Two notes up-bow. B: retake 68 6. Concerto for bandoneon and orchestra. 2nd mov., mm. 105 - 106. Solo part as published 69 7. Concerto for bandoneon and orchestra. 2nd mov., mm. 105 - 106. Descriptive notation after author's own performance 69 8. Adios Nonino - m. 43-48. Arrangement by Jose Bragato 71 9. Adios Nonino - m. 43 - 48. Arrangement by Jose Bragato. Alternative "classical" bowing 72 10. Buenos Aires Hora Cero- mm. 1 - 5 74 11. Tangazo - double bass, mm. 274-276 75 12. Invierno Porteno, Coda 75 13. Melancolico Buenos Aires - beginning 76 14. Double Concerto for bandoneon, guitar and string orchestra - Third Movement - mm. 97 - 100. Double bass part. © Editions Henry Lemoine, Paris 1985 76 15. Revirado - arr. for solo violin, strings and piano by A. Drago - mm. 24 - 27 77 16. Ex. 16 - A) Invierno Porteno, mm. 96 - 98 (version for piano trio by J. Bragato.) B) Revirado- beginning. C1) Melancolico Buenos Aires, mm. 41 -42. C2) Ibid. mm. 34-35 78 VII 17. Verano Porteno - mm. 1-4. Arr. by Jose Bragato A: for piano trio. B: for string orchestra 80 18. Verano Porteno- mm. 1 -4. Piazzolla's performance 80 19. Concerto for bandoneon and orchestra. 1st mov., mm 114-115 81 20. Concerto for bandoneon and orchestra. A) 1st mov., m. 132. B) 2nd mov., m. 44 82 21. Polymeter [332]~4/4 83 22. Polymeter [333322]~2x4/4 83 23. Polymeter [333322]~2x4/4, with hidden [332] meter 83 24. Escualo - main subject 84 25. Escualo - expected continuation 85 26. Escualo- mm. 35-41 85 27. Primavera Portena, m. 40. Arrangement for violin and chamber orchestra by A. Drago corresponding to 1'09" of the Regina Theater recording by Piazzolla and his Quintet 86 28. Primavera Portena, m. 113. Arrangement for violin and chamber orchestra by A. Drago corresponding to 3'58" of the Regina Theater recording by Piazzolla and his Quintet 87 29. Sinfonietta, 3rd mov., mm. 94 - 98 88 30. Sinfonietta, 3rd mov., piano motive, mm. 131 - 132 88 31. Sinfonietta, 3rd mov., mm. 210-211 89 32. Sinfonietta, 3rd mov., m. 231. Metric transformation 90 33. Contemplacion y Danza - mm. 45 - 55 91 34. Tangazo- m. 68. Fugal subject 92 35. Tangazo-m. 211 92 36. Tres Tangos para Bandoneon y Orquesta - no. 1 - m. 119 - 122 95 viii 37. Samples of yumba notation 96 38. Sample of Pugliese's realization of the yumba texture 96 39. Tres Tangos para Bandoneon y Orquesta - no. 1 - m. 167 98 40. Tangazo - m. 267 99 41. Concerto for band, and orchestra, 3rd mov. A) m. 161. B) m. 178 99 42. Verano Porteno - m. 50. Upper line: melody as published. Middle line: as played by Piazzolla. Lower line: double bass part 106 43. A and B: Oblivion. Ornamentation sample 107 44. Melancolico Buenos Aires - m. 101 - Bandoneon part 108 45. Primavera Portena- solo bandoneon. Descriptive notation 110 46. Primavera Portena-end of section A-mm. 52-55 112 47. Double Concerto for bandoneon, guitar and string orchestra. Introduction. Published part: © Editions Henry Lemoine, Paris 1985. Performance: Astor Piazzolla, bandoneon; Alvaro Pierri, Guitar; Kolner Rundfunk-Orchester, Conductor: Pinchas Steinberg. A WDR/TRANSTEL Production 113 48. Oblivion. Upper line: solo part as published. Lower line: descriptive annotation of Piazzolla's ornamentation 114 49. Superjectio after Christoph Bernhard 114 50. Concerto for bandoneon and orchestra. 2nd mov., mm. 91 - 92 115 51. Primavera Portena - section B - m. 60 115 52. Scalar diminutions with note doubling 116 53. Verano Porteno - central section. Upper line: melody as published; lower line: realization by Piazzolla 117 54. Invierno Porteno - bridge to coda. (ND = note-doubling) 117 55. Otono Porteno- middle slow section -double bass part 118 56. Buenos Aires Hora Cero- beginning -double bass part 119 57. La Muerte del Angel - mm. 18-21 119 ix 58. Otono Porteno- mm. 1 -4. Piano part 119 59. Written-out rhythmic contractions 123 60. Notation of lija by Jose Bragato 128 61. Notation of lija by A. Drago 129 62. Lija part in Invierno Porteno as played by Fernando Suarez Paz with Piazzolla's Quintet, mm. 94-100 134 63. Regular sixteenths 135 64. Sample tenuto in lija 135 65. Sample "short-and-off" articulation in lija 136 66. Lija sample (Ex. 62) in descriptive notation 136 67. Sample lija line from Sinfonietta, 1st mov 139 68. Sample lija line from Sinfonietta, 2nd mov 139 69. Tangazo- mm. 85 - 87. Percussion: guiro 140 70. Tangazo - mm. 115-116. Percussion: cymbal at the center. (The manuscript contains the indication "escobillas"- "brushes") 140 71. Proposed instrumentation of Ex. 62 142 72. Tres Tangos para bandonedn y orquesta - no. 3- mm. 70-73 144 73. Alternative notation for m. 71 from Ex. 72 144 74. Michelangelo 70, beginning. A) As annotated on the score. B) As played by Piazzolla and his Quintet 145 75. Tangazo- mm. 69-70, violins and violas 146 76. Tangazo-m. 183 146 77. Tangazo- mm. 219-220. Second violins 147 78. Tres Tangos para bandonedn y orquesta - no. 1 - m. 41 147 x 79. Tres Tangos para bandoneon y orquesta - no. 1 -mm. 56-57 147 80. Tres Tangos para bandoneon y orquesta - no. 3- mm. 18-21 148 81. Concerto for band, and orchestra - 1st mov.
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