La Cumparsita Carlos Di Sarli Orchestral Tango Argentine Tango Is a Musical Genre of Simple Quadruple Metre and Binary Musical

Total Page:16

File Type:pdf, Size:1020Kb

La Cumparsita Carlos Di Sarli Orchestral Tango Argentine Tango Is a Musical Genre of Simple Quadruple Metre and Binary Musical La Cumparsita Carlos Di Sarli Orchestral Tango Argentine tango is a musical genre of simple quadruple metre and binary musical form, and the social dance that accompanies it. Its lyrics and music are marked by nostalgia, expressed through melodic instruments including the bandoneón. Originated at the ending of the 19th century in the suburbs of Buenos Aires, it quickly grew in popularity and spread internationally. Among its leading figures are the singer and songwriter Carlos Gardel and composers/performers Francisco Canaro, Juan D'Arienzo, Osvaldo Pugliese, and Ástor Piazzolla. Argentine tango music is much more varied than ballroom tango music. A large amount of tango music has been composed by a variety of different orchestras over the last century. Not only is there a large volume of music, there is a breadth of stylistic differences between these orchestras as well, which makes it easier for Argentine tango dancers to spend the whole night dancing only Argentine tango. The four representative schools of the Argentine tango music are Di Sarli, d'Arienzo, Troilo and Pugliese, all four descendent from Italian immigrant families. They are dance orchestras, playing music for dancing. When the spirit of the music is characterized by counterpoint marking, clarity in the articulation is needed. It has a clear, repetitive pulse or beat, a strong tango-rhythm which is based on the 2x4, 2 strong beats on 4 (dos por cuatro). Ástor Piazzolla stretched the classical harmony and counterpoint and moved the tango from the dance floor to the concert stage. His compositions tell us something of our contemporary life and dancing it relates much to modern dance. While Argentine tango dancing has historically been danced to tango music, such as that produced by such orchestra leaders as Osvaldo Pugliese, Carlos Di Sarli, Juan d'Arienzo, in the '90s a younger generation of tango dancers began dancing tango steps to alternatives to tango music; music from other genres like, "world music", "electro-tango", "experimental rock", "trip hop", and "blues", to name a few. Artists like Kevin Johansen, Gotan Project, Tanghetto, Otros Aires, Tom Waits, Portishead, and Louis Armstrong are among those favored in alternative music playlists. Tango nuevo dance is often associated with alternative music, see nuevo tango, but it can be danced to tango as well. .
Recommended publications
  • Territorios Del Tango En Buenos Aires: Aportes Para Una Historia De Sus Formas De Inscripción
    Rev33-01 16/3/09 14:19 Página 49 Sofía Cecconi* ➲ Territorios del tango en Buenos Aires: aportes para una historia de sus formas de inscripción Resumen: Así como no se puede hablar de territorios urbanos sin remitirse en algún punto a las formas de vida de los grupos que los componen, tampoco se puede hablar con propiedad de expresiones musicales sin referirse tarde o temprano al ambiente en el que surgen y se desarrollan. Esto implica que una manifestación como la música, especial- mente cuando se la entiende como performance, es decir como actuación, puesta en esce- na y práctica, se encuentra enmarcada en coordenadas espacio-temporales precisas. De modo que la música se engarza y expresa tanto un tiempo histórico como una geografía determinada. Pocas ciudades existen con una identidad musical tan definida y ampliamente reconocida por propios y por ajenos como Buenos Aires. El tango es la música de un espacio defini- do, en el que se entrelazan tradiciones culturales y un espacio en transformación. Así como tango implica Buenos Aires, Buenos Aires implica tango. Pero tanto uno como la otra se modifican con el paso del tiempo y las grandes transformaciones sociales. Este trabajo se propone describir los territorios del tango a lo largo de su historia, mostrando las migraciones que realizó en la geografía de la ciudad, las resignificaciones que experi- mentó al quedar identificado con diversos actores sociales y las distintas apropiaciones de las que fue objeto. Palabras clave: Tango; Territorio; Buenos Aires; Argentina; Siglos XIX-XXI. Abstract: Urban territories are defined by a complex geography that includes not only the space and its features but also the styles, manners and ways of life of the social groups that take part of and compose it.
    [Show full text]
  • 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.
    [Show full text]
  • El Tango Y La Cultura Popular En La Reciente Narrativa Argentina
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2018 El tango y la cultura popular en la reciente narrativa argentina Monica A. Agrest The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2680 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EL TANGO Y LA CULTURA POPULAR EN LA RECIENTE NARRATIVA ARGENTINA by Mónica Adriana Agrest A dissertation submitted to the Graduate Faculty in Latin American, Iberian and Latino Cultures in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 © 2018 MÓNICA ADRIANA AGREST All Rights Reserved ii EL TANGO Y LA CULTURA POPULAR EN LA RECIENTE NARRATIVA ARGENTINA by Mónica Adriana Agrest This manuscript has been read and accepted for the Graduate Faculty in Latin American, Iberian and Latino Cultures in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ______________________________ ________________________________________ November 16th, 2017 Malva E. Filer Chair of Examining Committee ________________________________________ ________________________________________ November 16th, 2017 Fernando DeGiovanni Executive Officer Supervisory Committee: Silvia Dapía Nora Glickman Margaret E. Crahan THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT EL TANGO Y LA CULTURA POPULAR EN LA RECIENTE NARRATIVA ARGENTINA by Mónica Adriana Agrest Advisor: Malva E. Filer The aim of this doctoral thesis is to show that Tango as scenario, background, atmosphere or lending its stanzas and language, helps determine the tone and even the sentiment of disappointment and nostalgia, which are in much of Argentine recent narrative.
    [Show full text]
  • Elements of Argentine Tango a Resource Manual for Dancers
    Elements of Argentine Tango A Resource Manual for Dancers http://abqtango.org 1 History of Argentine Tango by Mike Higgins When talking about the history of the Tango, the reader should consider that although there were many ‘influences’ in the creation and life of the Tango, it is very important not to assume that it was some form of linear development Whilst dances and music from around the world have had some influence, this rather detracts from the people who really created and evolved the Tango into its current form. These are the people of Buenos Aires, who in the bars, cafes and dance halls made the Tango, danced the Tango, lived, loved and occasionally died for the Tango. It is the voice of the streets of Buenos Aires. Any suggestion that they may be dancing some sort of second hand steps or regurgitating music taken from Europe or Africa must be rejected as some what insulting to all the great milongueros who have danced and innovated down though years. It is equally insulting to the great Tango maestros who have drawn on their own life experiences when composing music. Almost certainly, the most important factor in the evolution of the Tango was the influence brought in by the Habanera, created in Havana, Cuba, and also known as the Andalusian Tango. Unfortunately there is now insufficient information to assess exactly how this was originally danced. The Habanera was based on the concept of a ’walk’, the same as the Tango. At some point the Milonga and The Habanera were fused to form the embryonic version of the Tango.
    [Show full text]
  • Buenos Aires Hora Cero Electrónico: Un Acercamiento a La Relación Entre La Música De Astor Piazzolla Y El Tango Electrónico Lautaro Díaz Geromet
    Buenos Aires Hora Cero Electrónico: un acercamiento a la relación entre la música de Astor Piazzolla y el tango electrónico Lautaro Díaz Geromet Esa ráfaga, el tango, esa diablura, los atareados años desafía; hecho de polvo y tiempo, el hombre dura menos que la liviana melodía, que sólo es tiempo. El tango crea un turbio pasado irreal que de algún modo es cierto, un recuerdo imposible de haber muerto peleando, en una esquina del suburbio. ~Jorge Luis Borges, El tango. A partir del análisis del tema Buenos Aires Hora Cero, el presente trabajo se propone ilustrar de qué manera el tango electrónico reinterpreta la música de Ástor Piazzolla. Para poder describir el proceso, tomamos como referencia la primera grabación que Piazzolla hizo del tema y la comparamos con dos versiones de “tango electrónico”: la que se encuentra incluida en el disco The Tango Chill Out Experience (2004)1 y la versión del disco Madrugada en Backcelonia2 (2005), grabado por el grupo San Telmo Lounge3. I The Tango Chill Out Experience. Compilación de versiones de temas de Piazzolla. 2004. Datos sin consignar. 2 Madrugada en Backcelonia San Telmo Lounge. 2004. EPSA Music. 3 San Telmo Lounge es un grupo que se conforma a fines del año 2001, a partir de la iniciativa del compositor y guitarrista Martín Delgado, con la premisa de experimentar en la fusión de la música electrónica, el tango y el jazz. revista del instituto superior de música 13 El “Tango Electrónico” o “Electrotango” es el resultado de la fusión de la música electrónica4 con el tango tradicional.
    [Show full text]
  • 1718Studyguidemaria.Pdf
    MARIA DE BUENOS AIRES A little tango opera in two parts for orchestra, narrator, and singers Texts by Horacio Ferrer | Music by Ástor Piazzolla Premiere May 8, 1968, Sala Planeta, Buenos Aires NOVEMBER 10, 11, 12, 2O17 The Noah Liff Opera Center Judy & Joe Barker | Jessica & Zach Liff Co-sponsors Directed by John Hoomes Conducted by Dean Williamson Featuring the Nashville Opera Orchestra CAST Maria Cassandra Velesco* El Payador Luis Alejandro Orozco* El Duende Luis Ledesma* Tango Axis Mariela Barufaldi* Jeremías Massera* The Girl Zazou France Gray* Sofia Viglianco* * Nashville Opera debut † Former Mary Ragland Young Artist TICKETS & INFORMATION Contact Nashville Opera at 615.832.5242 or visit nashvilleopera.org. Study Guide Contributors Anna Young, Education Director Cara Schneider, Creative Director THE JUDY & NOAH SUE & EARL LIFF FOUNDATION SWENSSON THE STORY Ástor Piazzolla’s tango opera, Maria de Buenos Aires, premiered on May 8, 1968, in Sala Planeta, Buenos Aires. The seductive quality of nuevo tango and the bandoneon play such an important role, they embody a central character in the story. Some say that the opera is a metaphor for tango and the city of Buenos Aires, with Maria herself being the personification of the tango. The surrealist plot is conveyed with the words of a narrator character and poet, El Payador, and his antithesis El Duende, an Argentinian goblin-spirit from South American mythology whose powers cause the loss of innocence. The opera, separated into two parts, first tells the story of the young Maria, her struggles on earth, and ultimate demise. The libretto states she “was born on the day God was drunk.” In the second part of the opera, we explore her existence as “Shadow Maria,” experiencing the dark underworld of Buenos Aires.
    [Show full text]
  • A Performer's Guide to Astor Piazzolla's <I>Tango-Études Pour Flûte Seule</I>: an Analytical Approach
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2018 A Performer’s Guide to Astor Piazzolla's Tango-Études pour flûte seule: An Analytical Approach Asis Reyes The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2509 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] A PERFORMER’S GUIDE TO ASTOR PIAZZOLLA'S TANGO-ÉTUDES POUR FLÛTE SEULE: AN ANALYTICAL APPROACH by ASIS A. REYES A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2018 © 2018 ASIS REYES All Rights Reserved ii A Performer’s Guide to Astor Piazzolla's Tango-Études pour flûte seule: An Analytical Approach by Asis A. Reyes This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts Date Professor Peter Manuel Chair of Examining Committee Date Professor Norman Carey Executive Officer Supervisory Committee: Antoni Pizà, Advisor Thomas McKinley, First Reader Tania Leon, Reader THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT A Performer’s Guide to Astor Piazzolla's Tango-Études pour flûte seule: An Analytical Approach by Asis A. Reyes Advisor: Antoni Pizà Abstract/Description This dissertation aims to give performers deeper insight into the style of the Tango- Études pour flûte seule and tango music in general as they seek to learn and apply tango performance conventions to the Tango-Études and other tango works.
    [Show full text]
  • Interaction Between Tango and Jazz Music
    Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 8-2019 The Boundaries of Modern Jazz Composition: Interaction between Tango and Jazz Music Evgeniya Kozhevnikova Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Composition Commons Recommended Citation Kozhevnikova, Evgeniya, "The Boundaries of Modern Jazz Composition: Interaction between Tango and Jazz Music" (2019). Master's Theses. 4727. https://scholarworks.wmich.edu/masters_theses/4727 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. THE BOUNDARIES OF MODERN JAZZ COMPOSITION: INTERACTION BETWEEN TANGO AND JAZZ MUSIC by Evgeniya Kozhevnikova A thesis submitted to the Graduate College in partial fulfillment of the requirements for the degree Master of Music Western Michigan University August 2019 Thesis Committee: Dr. Andrew Rathbun, Chair Prof. Matthew Fries Prof. Michael Duffy IV Copyright by Evgeniya Kozhevnikova 2019 THE BOUNDARIES OF MODERN JAZZ COMPOSITION: INTERACTION BETWEEN TANGO AND JAZZ MUSIC Evgeniya Kozhevnikova, M.M. Western Michigan University, 2019 The history of jazz music is not very long in comparison to the history of music in general – from the end of the 19th century until present. This period, however, is very dense in terms of musical influences and became especially denser recently because of globalization. Several researchers explored the jazz influences in the music of Astor Piazzolla, whom renovated traditional tango. While Piazzolla is considered a tango composer, some jazz bands use Piazzolla’s music as jazz standards and create compositions with traditional elements of jazz, such as improvisation.
    [Show full text]
  • California State University, Northridge an Analysis of Astor Piazzolla's
    California State University, Northridge An Analysis of Astor Piazzolla’s Histoire du Tango for Flute and Guitar and the Influence of Latin Music on Flute Repertoire A thesis submitted in partial fulfillment of the requirements for the degree of Master of Music in Performance By Sheila Molazadeh December 2013 The thesis of Sheila Molazadeh is approved: _____________________________________ __________________ Professor Sandra Kipp Date _____________________________________ __________________ Dr. Liviu Marinescu Date _____________________________________ __________________ Dr. Lawrence Stoffel, Chair Date California State University, Northridge ii Table of Contents Signature Page ii Abstract iv Chapter 1: Introduction 1 Chapter 2: The Life of Astor Piazzolla and Influences on his Music 3 Chapter 3: The History and Evolution of the Tango 8 Chapter 4: An Analysis of Histoire du Tango for Flute and Guitar 13 Chapter 5: The Influence of Latin Music on Flute Repertoire 19 Conclusion 24 Bibliography 25 iii Abstract An Analysis of Astor Piazzolla’s Histoire du Tango for Flute and Guitar and the Influence of Latin Music on Flute Repertoire By Sheila Molazadeh Master of Music in Performance Latin music has made vast contributions to many cultures and societies over time. This multifaceted genre encompasses a wide variety of sounds and styles that have evolved numerous times. The “Latin Craze” has captured many audiences throughout the history of Latin music and dance with its typically lustful and provocative nature, colorful melodies and various dance styles. The tango, in particular, is oftentimes associated with the late Argentinian composer Astor Piazzolla, one the greatest to ever compose that genre of music on such a large scale.
    [Show full text]
  • Piazzolla:570034Bk Hasse 30/6/10 10:48 AM Page 4
    572331bk Piazzolla:570034bk Hasse 30/6/10 10:48 AM Page 4 Aquiles Delle-Vigne, Piano Born in Argentina, Aquiles Delle Vigne gave his first recital at the age of eight. At seventeen, a disciple of Claudio Arrau, he won the Grand Prix Albert Williams, the most prestigious competition in South America. This award ASTOR opened the doors of the most important concert halls of the continent for him. He later completed his training in Europe with Eduardo del Pueyo and György Cziffra. His career has brought twenty concert tours in Japan, and eight in Australia, the United States and Mexico. He appears now in leading festivals and concert venues throughout the PIAZZOLLA’S world, and has collaborated with conductors and orchestras of great distinction. Aquiles Delle Vigne enjoys an international reputation as a teacher and gives master-classes at the Salzburg Mozarteum and at the Rotterdam Conservatorium in The Netherlands. He is also a Visiting Professor at the Royal Northern College of Music in BEST TANGOS Manchester and a Professor of the Paris Schola Cantorum. He chairs and serves on the juries of the most important international competitions in all five continents. His vast discography with EMI HMV, BASF Harmonia Mundi, BMG-RCA Victor, Pavane and EMS has received outstanding praise. Aquiles Delle-Vigne, Piano C M Photo by Paolo Ruta Y K 8.572331 4 572331bk Piazzolla:570034bk Hasse 30/6/10 10:48 AM Page 2 Astor Piazzolla (1921–1992) tango historian, composed towards the end of the 1960s. over the next two months. The song begins, Alfredo Gobbi (1912-1965), composer, violinist, Astor Piazzolla, born at Mar del Plata, Argentina in 1921, and was described in the New York Times as ‘the modern arranger and bandleader, was one of the early twentieth Ya sé que estoy piantao, piantao, piantao, emigrated with his family to New York in 1924.
    [Show full text]
  • Transcribing Astor Piazzolla's Works to Maximize Stylistic Fidelity: an Examination of Three Saxophone Quartets with a New Transcription
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 3-2019 Transcribing Astor Piazzolla's Works to Maximize Stylistic Fidelity: An Examination of Three Saxophone Quartets with a New Transcription Sarah L. Cosano Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Composition Commons, Music Performance Commons, and the Music Practice Commons This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. TRANSCRIBING ASTOR PIAZZOLLA’S WORKS TO MAXIMIZE STYLISTIC FIDELITY: AN EXAMINATION OF THREE SAXOPHONE QUARTETS WITH A NEW TRANSCRIPTION By Sarah L. Cosano A DOCTORAL DOCUMENT Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Music Under the Supervision of Professor Paul Haar Lincoln, Nebraska March, 2019 TRANSCRIBING ASTOR PIAZZOLLA’S WORKS TO MAXIMIZE STYLISTIC FIDELITY: AN EXAMINATION OF THREE SAXOPHONE QUARTETS WITH A NEW TRANSCRIPTION Sarah L. Cosano, D.M.A. University of Nebraska, 2019 Advisor: Paul Haar Astor Piazzolla is recognized as a pivotal figure who drew tango music onto an international stage. His output of written compositions and recordings provide a reference for studying tango. Though Piazzolla adapted a collection of flute etudes in 1988, he did not write specifically for saxophone during his lifetime.
    [Show full text]
  • Argentine Tango Instrumental Music (Oxford, 2016) *
    Review-essay of Kacey Link and Kristin Wendland, Tracing Tangueros: Argentine Tango Instrumental Music (Oxford, 2016) * John Turci-Escobar KEYWORDS: Tango, Popular Music Received April 2019 Volume 25, Number 3, September 2019 Copyright © 2019 Society for Music Theory [1] The tango, Argentine writer Jorge Luis Borges argued, contains a secret. “Musical dictionaries provide a brief, adequate, and generally approved definition,” Borges wrote, but “the French or Spanish composer who, trusting the definition, correctly crafts a ‘tango,’ discovers, very much to his surprise, that he has crafted something that our ears do not recognize, that our memory does not welcome, and that our body rejects” (2009, 267–68).(1) Pace Borges, in Tracing Tangueros Kacey Link and Kristin Wendland go beyond the brief definition, to provide a “detailed study of Argentine tango instrumental music” that promises to reveal the genre’s secret and assist musicians who perform and arrange, composers who write, and music scholars who analyze Argentine, or more precisely, River Plate tangos.(2) Moreover, the authors seek to engage an even wider audience, “ranging from a tango aficionado wishing to learn about the music of a specific tanguero to a professional musician seeking a detailed performance or theoretical analysis” (18). There I call attention to issues relating to how the authors defined their corpus, constructed their historical narrative, and chose representative tangueros. [2] Link and Wendland base their effort on more than a decade of experience studying and performing Argentine tango. Both authors are accomplished pianists who perform in, and lead, tango ensembles. They have paid their dues in Buenos Aires, studying, playing, and interacting with prominent tangueros (tango musicians).
    [Show full text]