Rescatando al para una nueva música: Reconsidering the 1965 Collaboration between Borges and Piazzolla1

John Turci-Escobar

nyone who remembers the 1965 collaboration between Jorge Luis ABorges and , probably also remembers that it ended badly. It left an LP album, entitled El tango, which consisted entirely of Borges texts set to music by Piazzolla (Piazzolla El tango).2 It also left an

1 I would like to thank Nicolás Lucero, Daniel Balderston, María Julia Rossi, and An- drea Campetella for their pivotal roles in inspiring and shaping this project. For much valued suggestions and criticisms at various stages of this project, I am very grateful to Craig Monson, Karen Olson, Dolores Pesce, Peter Schmelz, Robert Snarrenberg, Bruce Durazzi, William Acree, Ignacio Infante, Patrick Burke, Angela Miller, Patrick Frank, Mabel Moraña, and Ignacio Sánchez Prado. For providing crucial information and re- sources, I thank José and Gina Bragato, Bradley Short, Kathy Smith and Teresa Gray from the Special Collections and University Archives at Vanderbilt University, and especially, Jorge Strada and the “chicos y chicas” of the Biblioteca Astor Piazzola. 2 The tracks on this album are “El tango,” poema musical (recorded 6/21/1965), “Ja- cinto Chiclana,” milonga (recorded 6/21/1965), “Alguien le dice al tango,” tango (re- corded 6/21/1965), “El títere,” milonga tanguera (recorded 6/21/1965), “A don Nicanor Paredes,” Milonga (recorded 6/15/1965), “Oda íntima a ,” oda porteña (re- corded 6/15/1965), and “El hombre de la esquina rosada,” suite para recitante, canto y doce instrumentos (recorded 7/5-6/1965) (Saito 274). The project featured legendary singer Edmundo Rivero, as well as the prominent actor Luis Medina Castro, who recited the texts of “El tango” and “Oda íntima a Buenos Aires.” Responsibility for rendering the instrumental parts fell primarily on the members of Piazzolla’s groundbreaking Quinteto Nuevo Tango. A number of tracks also feature notable instrumentalists, such as cellist José Bragato and contrabassist Kicho Díaz. Piazzolla scored “A don Nicanor Paredes” for orchestra, and “Oda íntima a Buenos Aires” for orchestra and chorus. In

Variaciones Borges 31 » 2011 John Turci-Escobar 2 “Caminito,” had recently proposed in a weekly magazine. See Filiberto, “Las tres vidas de 1997, to rescue this work “hoping by Astor Piazzolla,” producer Envar el Kadri gathered 3 The accusations of deafness are certainly hyperbolic. That Borges and Pi and Borges Thathyperbolic. certainly are deafness of accusations The el Riachuelo”).el essay1927 contestswhichtri a he Borges the in descriptionin this used accordionan and ofsideburns pair “a as arearoundhim that going describe to enough why the collaboration took place, how each person approached it, and why especially on the developmentPiazzolla’sthe of on especially music,consequently, and on Gardel (“De collaboration in milongas and writing were fields,” encapsulate thetone of theprotracted exchange: hindsight, this article provides a valuable of point entry to understanding of benefit the with and grain the against Read Borges”,22).Luis Jorge a artistic respective their in eminences international “two Piazzolla, and article an in evident however,is other, each hearing trouble had azzolla saddening the Riachuelo” (“un par de patillas y un acordeón que andan entristeciendo andan acordeónque un y patillas de par Riachuelo”(“un the saddening Borges’s account of the project to the reporter from reporter the to project the of account Borges’s a distinguished group of performers and, following the original arrangements, recorded new versions of the tracks on this album. See Astor Piazzolla, ,Jairo, LuisPiazzolla, JorgeAstor See album. this on tracks the of versions new that he was not only writing tangos and milongas and tangos writing only not was he that the music of BuenosAires. daily the ofsupplement literary the appeared in that in turn, invites us to reconsider the broader impact of their collaboration,their of impact broader reconsiderthe to us turn,invites in understanding, this by provided perspective unraveled.The ultimately it side, each from one samples, Twoinvective. of trail quotable irresistibly months before the before months Lito Cruz, DanielBinelliandEnsamble Vocal Rioplatense. included thisessayincluded in la milonga?,” and Borges, “Apunte férvido sobre las tres vidas de la milonga.” Borges milonga.” la de vidas tres las sobre férvido Borges,“Apunte and milonga?,” la partite classification of the milonga that Filiberto, a composer best known for the tango Piazzolla misses the irony in Borges’s claims of ignorance. Borges knew Filiberto well era un mago. Yo nunca he leído poemas más bellos que los que escribió que los que bellos más poemas leído he nunca Yomago. un era entre Beethoven y Juan de Dios Filiberto. No sabía quién era quién, y además, En Astor Piazzolla, que no tiene oído, se conjugan la sordera musical y la la y musicalsordera la conjugan oído,se tiene Piazzolla,no Astor que En Borges, pero enmateria demúsica era sordo (GorínandPiazzolla 106). diferenciarsiquiera nada,ni sabía no música de él que contestóBorges me no le interesaba. Después salió opinando como un gran experto. Creo que experto.Creogran un como opinando salió interesaba.Después le no poética (Borges andMatamoro 91). El idiomadelos argentinos El tango El recording. This article announces that Borgesthat recording.announces article This . for La Nación La La Nación La Piazzolla, but also Piazzolla,but , just a few a ,just suggests 3 - - “Vicente Rossi, “Vicente Piazzolla“FueAstor —diceamigoBorges—, un común,de intermedio por “las milongas son temas“las populares métrica yla eseloctasílabo” (Borges andMateo 93). 4 5 Casares 996). The text of “Jacinto Chiclana” quite likely preceded the projlikelyprecededquitethe Chiclana” Casares 996). “Jacinto Thetextof with working together, and would come to my house every day to bring me a me bring to dayevery house my to come wouldtogether, workingand into verses his recite and home composer’s the visit periodically would Luis Borges” 22, myemphasis). ect. When asked why he had written this, and milongas more generally,more milongas and this, written had he why asked When ect. of idea the about enthusiastic “was reporter, the told he Borges,earlier. ando este trabajo consistente en milongas y tangos” (“De Gardel a Jorge a Gardel (“De tangos” y milongas en consistente trabajo este ando had given a similar description of the collaborativethe ofprocess descriptionfewmonths similar a givena had Piazzolla music. to them set would musician the Then,recorder. tape a Esther Vázquez, Borges originally wrote these and other milongas at the at milongas other and these Vázquez,wroteoriginally BorgesEsther Félix Della Paolera, quien me invitó a Paolera, invitó FélixDella me quien Borges responded: BioyCasares. AsPiazzolla processthe described Eduardoto Lagos, Borges longa de dos hermanos.” On Christmas day 1963 Borges presented the presented Borges 1963 day Christmas On hermanos.” dos de longa letra ol, oee, ifr sapy rm i claoaie ok ih Adolfo with work collaborative his from sharply differs however,zolla, the case with the first milonga that Borges is known to have to Borges known written: that milonga is first the “Mi with case the (254). Guastavino Carlos composer classical of request María biographer to According collaboration. different a from resulted tion of thecollaboration, according toAzzi and Collier (90). poem ortwo” (“Astor Piazzolla” 51). Alberto Salem, a well-connected friend of Piazzolla, also participated in the gesta the in participated Piazzolla,also of friend well-connected a Salem, Alberto Borges provided a trenchant definition of the milonga genre in a 1969 interview: 1969 a in genre milonga the of definition trenchant a provided Borges The milongas that Borges handed over to Piazzolla may in fact have fact in mayPiazzolla to over handed Borges that milongas The o Bre cetd hs mlna ad ags together tangos and milongas these created Borges How Piazzolla, that is, that he viewed this work as a collaborative effort:collaborative a as work this viewed he that is, Piazzolla,that , along with a musical setting by Guastavino, to OcampoSilvina (Bioy Y luego, sin querer —yo iba caminando, sí, por la calle Perú— sin querer, sin Perú— calle la por sí,caminando, iba —yo querer sin luego, Y demás saliótodo, como lesdigo, demisangre (Borges andCarrizo 62). lo Y esta.milonga la era algo ese y occurrir a iba algo que pronto,sentí de sé, yo nunca he escrito ninguna.” Y luego recordé el nombre de aquel Ja aquel de nombre el recordé luego Y ninguna.” escrito he nunca yo sé, cinto cinto Chiclana, y una vaga historia de que lo mataron peleando con muchos. Bueno, Guastavino me dijo si yo podía escribir una milonga y yo le dije: “No - Cosas De Negros. Córdoba, 1926”); “ 1926”); Córdoba,Negros. De Cosas 4 colaborar en esta labor” (J.L. Borgeslabor” esta en Juntos 5 This is certainly is This estamos cre estamos with Piaz ------

Reconsidering the 1965 Collaboration between Borges and Piazzolla 3 John Turci-Escobar 4 Mlna e lonz fr rdcr e Mlr Bo Csrs 1055-56). Casares (Bioy Molar Ben producer for Albornoz” de “Milonga se los entregaba él Molar then included this milonga, set to music by José Basso,José in by music milonga,to this set included then Molar 9 7 Florida.Guastavinocalle la de quina después que la compuse, Hugo Santiago, el realizador del film, me dijo que ala milonga sermía.de Tiene algúnserde que Acevedo perdido ahí,por Borges...o pero mía,no per es una en encontráramos nos que hizo azar) hay no que (salvo azar el años, veinte de más ya hace duda sin peroimprecisas, son fechas Guastavino.Mis Carlos masetro del later his in overlapped,especiallypersonas public and literaryBorges’s how of display critura de este libro se debe a una amistosa sugestión de Carlos Guastavino. Hace más de (44-45,emphasis).my Note howBorges reproduces extended passages epilogfromthe If Borges’s recollection is accurate, is recollectionBorges’s If cific milongas with other specific projects in mind. In 1966 he wrote the wrote he 1966 In mind. in projects specific other with milongas cific why would he give them to the musician in installments, rather than all than ratherinstallments, in musician the to them give he would why of them on tape? There is certainly evidence that Borges wrote other,Borgesspe wrote that evidence certainly Thereis tape? on them of 6 at once? If they had previously been written and copied, why record any record why copied, and written been previously had they If once? at sulted. José Basso (1919-93)was apianist, director, andcomposer of . sonal” (Borgessonal” and Carrizo 60). él le pondría música.ensayadopondría contestégénero.había le nuncaeseLe él que Mesesdespués, Roberto Alifano: “La escritura de escritura “La Alifano: Roberto Piazzolla, meeting before texts milonga the written already had Borges tango lific composer, never set “Jacinto Chiclana”, one of the poet’s most felici most poet’s the of one Chiclana”, “Jacinto set never composer, lific veinte años el azar (salvo que no hay azar) hizo que me cruzara con él en una esquina de verbatim. In the passage in italics, however, Borges seems to imply that he had writtenhad italics,he passagehowever, that in the verbatim. imply In to Borgesseems with César Menotti (!)(Borges andMateo 182). the 1969 film 1969 the suggests, Vázquez as If, request. his at wrote supposedly Borges that genre. the in exercises tous the following excerpt from the epilog he wrote for the 1983 edition of edition 1983 the forwrote he epilog the excerptfollowingfrom the the verses before this meeting. He provides yet another of the story in a 1978 interview 1978 a verses beforein the meeting. story this providesthe ofHe yetanother with interview 1984 an in milongas the of origin the described he years,how consider algo que sentí extrañando)sigo (que Nacional Biblioteca la de galerías las recorriendo most likely chose Aníbal Troilo to set the text to music. iba a suceder. Ese algo fue la milonga de Jacinto Chiclana” ( Chiclana” Jacinto de milonga la suceder.fuealgo a Ese iba e oí msc Tol” Bre ad ae 9) Aía Tol (999) bandoneon (1919-93) Troilo Aníbal 96). Mateo and (Borges Troilo” música ponía le calle la Florida. Cambiamos yosi que palabrasdijo entregabaunas mele y milonga,una 8 This is what Borges told an interviewer in a 1969 interview: “Fíjese que dos días dos que “Fíjese interview: 1969 a in interviewer an told Borges what is This ha no que buena,tan letra,es la “Y it: disown to had he good so was Borgesit For How Borges’s recollections varied considerably from telling to telling is evident in in evident is telling to tellingBorges’s considerablyfromrecollectionsHow varied It wasMolar,It Borges,not JoséwhochoseBasso, Borgesalthough may have beencon . 8 A few years later, Borges wrote the “Milonga de Manuel Flores” for les pondría música. Así lo hizo y de esa manera nacieron mis milongas” Invasión . It is the director of the film, Hugo Santiago, who Hugo film, the of director the is It . 7 Para las seis cuerdasseisPara las Nor did Guastavino set any other milongas other any set Guastavino did Nor conocía algunos de esos versos míos y me dijo que si yo si que dijo me y míos versos esos de algunos conocía 6 it is puzzling that Guastavino, a pro Guastavino,a that puzzling is it se debe a una amistosa sugestión amistosa una a debe se Milongas 9 Several years later, 48). In a stunning stunning a 48).In Milongas 14 con el con 14 : “La es :“La ------“Milonga delinfiel”. 11 10 Música Astor Piazzolla, located in the city of Mar del Plata, I discovered I Plata, del Mar of city the in locatedPiazzolla, Astor Música dos hermanos,” “Milonga para los orientales,” and “Milonga de los more ois f he upbihd n, o y nweg, noie ad un and unnoticed knowledge, my to and, unpublished three of copies ect orcomposer mind. in handed to Piazzolla were original to the project. It is also possible that possible also is It project. the to original were Piazzolla to handed Borges wrote two milongas for Sebastián Piana. Sebastián for milongas two wrote Borges Bragato, indicate when these settings were copied—1993—but not when setting of each milonga was ever published or recorded further suggestsrecordedfurther or published ever was milonga each of setting settings of Borges’s texts: following chart juxtaposes the contents of this collection with Piazzolla’scollectionwith this contents of juxtaposesthe chart following that Borges’s usual practice was to write each milonga with a specific proj the first edition of Borges’s collected milongas, collected Borges’s of edition first the in included were texts their however,because period,collaborative their they were composed. It is likely that they were composed before or during appearedsettingsfouralbum,that the the only on not textsinclude these the height of theGoldenAge. o. Te uia soe, ind y izol’ ln-ie oys José copyist long-time Piazzolla’s by signed scores, musical The nos.” ing copyrights.ing performed settings of Borges milongas by Astor Piazzolla: “Milonga de “MilongaPiazzolla: Astor by milongas Borges of settings performed player,orchestra 1940s, director, the tango the of figurecomposer, in and leading a was but also those of another two settings that did not. In the Biblioteca de Biblioteca the In not. did that settings two another of those also but Pace This practice most likely reflects commercial considerations, specifically,commercial concern reflects likely most practiceThis and soldado”) del “Milonga as known (also muerto” del “Milonga the areThese Vázquez, it is possible that one or more of the texts that Borges that texts the of more or one that possible is Vázquez,it 11

10 Para las seis cuerdas seis las Para The fact that only one only that fact The . The . - - - -

Reconsidering the 1965 Collaboration between Borges and Piazzolla 5 John Turci-Escobar 6 “Milonga de dos hermanos” by Guastavino may explain why Piazzol 12 content, not form, may have excluded “¿Dónde se habrán ido?”: its use of use its ido?”: habrán se “¿Dónde excludedhave may form, not content, concordances of Borges milonga texts. ed to Piazzolla had already been written, we can be certain that, in the in that, certain be can we written, been already had Piazzolla to ed avoidedPiazzolla that fact Conversely,the it. publishing or recording ed octosyllable versification of these tangos and milongas. Considerations of milongas. Considerations and tangos these of versification octosyllable tro appears on the first track of the album. The existence of a prior setting of setting prior a of existence The album. the of track first the on appears Piazzolla set all but three of the poems that Borges included in this collec this in Borgesincluded that poems the of three but allPiazzolla set sings the lyrics on the original recording (Matogrosso). The published score describes (Matogrosso).scorerecordingoriginal published Thethe on lyrics the sings Piazzolla to set asamilonga octosyllable sinceverse. itisnotin the to Piazzolla to muertos” compadritos “Los presented Borges that unlikely seems It tion. recording or publishing “Milonga para los orientales” may explain why explain may orientales” los para “Milonga publishing or recording it was eventually set by José Basso. To my knowledge, these are the only the are knowledge,these my Basso.To José by set eventually was it twostanzas constitutethat Borges’s poem. unlikelyis It Borgesthat textthis handed to Borges,(Piazzollaand milonga a as Piazzolla’ssetting this collection, 1964 the in poem this months that preceded the album, Borges voiced enthusiasm for the proj the for enthusiasm voicedBorgesalbum, the preceded that months “Los compadritos muertos” “Milonga para losorientales” “Milonga delosMorenos” “Alguien ledice altango” “El títere” “Un cuchillo enelnorte” “Milonga deNicanor Paredes” “Milonga para Chiclana” Jacinto “¿Dónde se habrán ido?” “Milonga dedoshermanos” Para las seis cuerdas ). In both its recorded and score versions, the composition renders only the first of the Though we cannot be certain whether the texts that Borges provid Borges that texts the whether certain be cannot we Though ubi sunt ubi In 1975, Piazzolla recorded a setting of Borges’s poem, “1964”. Borges included included Borges “1964”. poem, Borges’s of setting a recordedPiazzolla 1975, In convention overlaps with that in the poem “El tango”,which “El poem the in that with overlaps convention since it features hendecasyllable verses, not the characteristic the not verses, hendecasyllable features it since (1965) El otro, el mismo el otro, El “Milonga para losorientales” (unpublished) “Milonga delosmorenos” (unpublished) “Alguien ledice altango” “El títere” “Milonga deNicanor Paredes” “Milonga para Chiclana” Jacinto “Milonga dedoshermanos”(unpublished) Piazzolla’s settings of Borges texts 12

. Brazilian musician Ney MatogrossoNey musician Brazilian . Mil novecientos sesenta y cua y sesenta novecientos Mil la la avoid - - - - - “Nicanor Paredes.” This seems less likely, butstill possible, thecase Chiclana.” in “Jacinto 16 15 13 14 ginal social types who inhabited the outlying slums of fin-de-siècle Bue fin-de-siècle of slums outlying the inhabited who types social ginal GardelJorgea Luis Borges” 22). tango-milongas,By Borges tangosmeant gos me gusta el tango-milonga y siempre me ha desagradado el tango can Con Piaz Over four decades, Borges had insisted on a sharp distinction between two old (viejos), primordial (primordiales), first (primeros), antique (antiguos), and primi (antiguos), and antique (primeros), first (primordiales),primordial (viejos), old dio, composing at the piano to the hissing voiceBorges’shissingof shadow.the to The piano the dio,at composing cupations (“inquietudes”) with a poet of Borges’s stature (Lagos “Borges(Lagos statureBorges’s of poet a with (“inquietudes”) cupations composed between the last years of the nineteenth century and the sec the and century nineteenth the of years last the between composed ción, esdecir, hepreferido eltango valeroso alllorón, quejumbroso” (“De since,interactionhavemayaccordingcomposerto spectral preferred this ect and de Lagos, he Lagos, ond decade of the twentieth.onddecadeofthe see Sorrentino and ZlotchewseeSorrentinoix-xi.and The standardand “orillas” interpretation the how of Piazzolla, at the end of their passage from the poet’s veins to composer’s solely onsolely Piazzolla’s shoulders. uscripts of Guastavino. From the existing evidence, it seems likely that Borges composed for Borges, the collaborative effort ended when he handed the verses to verses the handed he whenBorges, collaborativeforeffortended the then well-honed distinction to the reporter from types, or more accurately, two periods of tango music. tions for tango music. the magnetic tape. From then on the weight of the collaboration restedcollaboration the ofweight the on tape.then Frommagnetic the the following texts especially for the project: “Alguien le dice al tango,” “El títere,” and títere,” “El tango,” al dice le “Alguienproject: the for especially texts following the tive (primitivos). nos Aires. workingmean together, rather,but alignmentan aspiraaesthetic their in its “orilleros” shaped Borges’s literary project is Beatriz Sarlo 20-49. For a historian’s a For 20-49. Sarlo Beatriz is project literary Borges’s shaped “orilleros” its pa yelsuburbioson dioses.” Borges bothessays included in perspective, andanaccount of theorigins of thetango, see Collier. brave, insolent, and joyful qualities that he associated with certain mar certain with associated he that qualities joyful and insolent,brave, He first puts forthin this “Carriego distinction y el sentido del arrabal,” and “La pam If further evidence is to be found, it most likely will be in the extant papers and man For introductiontypesan social the to of outskirtsthe orillas) of(las Aires,Buenos tangos:ofcategory this describe to adjectivesvariousyears, Borgesused the Over zolla”). For Borges, therefore, collaborating with Piazzolla did not 16 scribed it as a collaborative effort. had initially feared the responsibility of having to share preoc share to having of responsibility the feared initially had Composed by semi-professional musicians, these tangos were 15 For Borges thesefirst tangos expressed the One can imagine Piazzolla canOne imagine attichis in stu 13 We can also be certain that, La Nación El tamañodemiesperanza 14 He repeats this by : “Entre los tan . ------

Reconsidering the 1965 Collaboration between Borges and Piazzolla 7 John Turci-Escobar 8 1920 and 1950, “tangos de la Guardia Nueva.” For obvious reasons, he also After decades of perceivedof decay,decades currency.After however,their lost terms these 19 18 17 21 20 Arturo Mathon), and“ElMarne” (1918, music byEduardo Arolas). Villoldo), “El apache Argentino” apache “El Villoldo), Guardia Vieja Guardia gel Villoldo), “La morocha” (1905, composed by Enrique Saborido with lyrics by Ángel by lyrics with Saborido Enrique Villoldo),gel(1905,morocha”by composed “La 74). For a scholarly and comprehensive discussion of the milonga, Selles, “La milonga” milonga,Selles,“La the ofcomprehensive discussion and scholarly a For74). development of North American jazz music, the early tangos provided fertile ground for especiallyfondseveralof Pascualby lyrics Contursi, “Ivette”as such “Florfango”and de VicenteRossi’sby enced when they were tearful, lamenting, and sad. This view emerges most elo most emergesview Thissad. and tearful,lamenting,were they when sung. were whichBorges fact preferred, in were more common. all. at any had they when lyrics, their were f ae tno ta h fud ot fesv: hi lrc ad o they how and lyrics their offensive: most found he that tangos later of avoided the common alternative, “Edad de Oro.” Borges most likely pre likely most Borges Oro.” de “Edad alternative,common the avoided Borges avoided the common designation for tangos composed between composed tangos for designation common the avoidedBorges and “Eltango y susdosprimeras décadas (1880-1900).” Ernesto Poncio with lyrics by Ricardo J. Podestá), “El choclo” “El Podestá),J. Ricardo by lyrics with Poncio Ernesto simple in their musical construction. Just as simple, and often incidental,often simple, and as construction.Just musical their in simple who in increasing numbers,who increasing in came tothetango withformal conservatory training. fers the term “tango-canción,” however, because it names the two aspects tificially burdened with arcane slang. arcane with burdened tificially “contemporáneos,”“nuevos.”“actuales,” and as adjectivessuch temporal tango believe scholars to betheprecursor of theearlytangos. relation between the tango and the milonga, a genre that Borges and most favors,ultimately and interview this “tango-milonga,”makesthe explicit amateur quartets—and and small—trios were them performed typically ish. The standard term for tangos composed before 1920 is 1920 before composed tangos for term standard The ish. further musical elaboration and development by later generations of tango musicians,tango of generations later by development and elaboration musical further his singing style,his singing but alsofor hisinfluence on thedevelopment of the lyrics of “Campana de Plata” by Samuel Linning ( Linning SamuelPlata” by de “Campana of lyrics the played PanTinin Alleytunes that invention. rolerhythmic likeMuchthe and lodic For the second, “lamentable,” category of tangos, Borges first used first Borges tangos, of category “lamentable,” second, the For Borges’s views on the relationship between the milonga and the tangoBorges’sthe wererelationship milongaand betweeninflu the the on views by composed (1898, Juan” “Don are cites frequently Borges tangos the Among me their in remarkable are tangos early these of many simplicity, their Despite As Borges often pointed out again, he did not hate all tango lyrics. He praised the praisedtangolyrics. allHe hate not did again,he out Borges pointed Asoften Borges frequentlyexpressed scornforlegendary singerCarlosGardel, foronly not 20 Borges disliked these lyrics when they were maudlin and ar and maudlin werethey when lyrics Borgesthese disliked , which Borges used from time to time. The term he uses in in uses he term Thetime. to time from usedBorges which, Cosas de negros.Cosasde

(1913, composed by Manuel Aróztegui with lyrics by lyrics with ArózteguiManuel by composed (1913, Also influential was Carlos Carlos was (see Vega influential 231- Also Vega 21 He disliked them most, however,most, them disliked He El tamaño de mi esperanzami de tamaño El 17 The instrumental versions, instrumental The 18

(1903, composed by Án by composed (1903, The ensembles that tango canción 19 tangos de la de tangos

29). He was29). He . ------22 74,emphasis).my saviorBorgestango.the the be of to makesout himself ( This optimistic tone is surprising, since even as a young man, Borges faced y alegres of Borg of (Bioy Casares passim). Borges also wrote a frequently cited categorization of tango lyrics. quently in his 1955 essay,1955 his in quently Saviors moving in one direction seek to replace existing forms by restor by forms existing replace to seek direction one in moving Saviors find Borges actively promoting his collaboration with Piazzolla, with collaboration great his Borges the promoting actively find orígenes podían ser tontos o, a lo menos, atolondrados, pero eran only twomovementsonly arepossible, towards or past future.the Evenmore surprising, however, savingis he tangothat notion the foris a suggests. In his 1955 his In suggests. See metaphysical preoccupations withmemory, time, andimmortality. settings to express courage and joy. Besides affect,Borges’sjoy.wereexexpressBesides couragewhat and to settings seems to have changed in the two weeks since the since weeks two the in changedhave to seems Pauls has identified as Borges’s “true and relentless passion for discord.” The origin discord.” The for passion relentless and “true Borges’s as identified has Pauls rm dcaain o h ted weekly, trendy the to declaration a from fue siempre llorón; tal las desdichas proprias y festejacondesvergüenzay proprias desdichas ajenas” desdichaslas tal las the decline of thetangothe decline withstoic resignation: an reported Borges,the article. the of end very the to delayedrevelation ing ing those from the past, while those moving in the other direction replace tango, and music more generally, are considerably more nuanced than this opposition this than generally,nuanced moremoreconsiderably aremusic tango, and new music. Now, saviors typically operate in a linear universe, music.wherelinear newNow,one a saviorsin operatetypically nounces, “is writing tangos and milongas for Astor Piazzolla.” Something pectations concerning musical style? poet’s latest description of the project betrays a sense of urgency: “El tango OC. 1923-1949 OC. OC e a tae u wa tee uia epcain cud ae been have could expectations musical these what out tease can We In this stark opposition between old and new tangos, we witness what Alan Alan what witness we tangos, new and old between opposition stark this In Alguna vez —si los primitivos tangos no engañan— una felicidad sopló felicidad una engañan— no tangos primitivos los —si vez Alguna del compadrito y en la jarana de las chiruzas en el portón. ¿Qué valentías portón.¿Qué el en chiruzas las de jarana la en y compadrito del sobrellevarlos, pero nolesdigan porteños. ( dominguero empaque el en estuvo y arrabal del rosadas tapias las sobre el bandoneón cobarde y el tango sin salida están con nosotros. Hay que Haynosotros. con están salida sin tango el y cobarde bandoneón el la gastaron, qúe generosidades, qué fiestas? Lo cierto es que pasó y que y pasó que es cierto Lo fiestas? qué generosidades, qúe gastaron, la (265-66). es’s literature, according to Pauls, is the duel (33-34). Borges’s notions on the on notions Borges’s(33-34). duel the is Pauls, to accordingliterature, es’s ; el tango posterior es un resentido que deplora con lujo sentimen 267, my emphasis). my 267, Historia del tango del Historia yo lo estoy rescatando para una música nueva Historia del tango del Historia , Borges places the tango in the context of his of context the in tango the places Borges , 22 Cleary Borges expected Piazzolla’s expected Borges Cleary Primera Plana Primera : “La milonga y el tango de los tangode el y milonga: “La El idiomadelos argentinos La Nación La Oc aan we again, Once . ” (“Literatos” article. Thearticle. valerosos 116) - - - -

Reconsidering the 1965 Collaboration between Borges and Piazzolla 9 John Turci-Escobar 10 “Hausen,” he chose the realm of popular music; he was a “vanguardista del 25 24 23 garde certainly music include Horacio Salgán, Eduardo Rovira, and Atilio Stampone. The guardista”,emphasis). my gent, even inevitable, Piazzolla asserts, because the tango is crisis:in “Para que significó De Caro en el 30” (“Astor Piazzolla y el llamado tango van tango llamado el y Piazzolla (“Astor 30” el en Caro De significó que es tango y la aparición de aparición la y tango es [sic], Berg, Boules [sic], Krenek, Stock, Hausen [sic], Luigi-Nono [sic]” (“Así aries between classical and popular music, however, compelled Piazzolla to posi his support ToPiazzolla”). a (“Interpelación composer avant-garde eteis s h sac fr e mscl om (bso uvs formas nuevas (“busco forms musical new for search the as aesthetics son sin maquillaje! Astor Piazzolla”). ’s strictly enforced bound enforcedPiazzolla”). strictly AstorArgentina’s maquillaje! sin son zolla was tryingtorescue indeed thetango for anew music. the first, Piazzolla was themost forceful exponent of this tendency. tango” (“Interpelación a Piazzolla”). Though not the only and perhaps not tion he often drops the names of prominent avant-garde composers, whose United States (“Interpelación a Piazzolla”). The renovation of tango is ur is Piazzolla”).tango ofrenovationa The(“Interpelación States United renovationofmusicalforms, Piazzolla frequently noted, tangothe lagged ap first the call us let purposes, our For ones. new inventing by them renace) (“Astor Piazzolla”). que cadáver (un reborn is that corpse “a a as tango the Borges,describes of that than names clearly mystified the reporters taking notes: “Shomber [sic], Albany an as public the to himself presents consistently He time. the at music concert Western of composers most by espoused aspirations modernist mí esa crisis is valiosa porque supone porque valiosa is crisis esa mí its In vanguardista”). tango llamado el y Piazzolla (“Astor musicales”) position himself in one realm or the other. the or realm one in himself position plains why Borges laced his description of the project with catchwords with project the of description his laced Borges why plains proach antiquarian, thesecond avant-garde. precursor, of course, isOsvaldo Pugliese. behind the popular musics of other countries, especially and the and Brazil especially countries, other of musics popular the behind In several 1960s interviews, Piazzolla defines his avant-garde tango avant-garde his defines Piazzolla interviews, 1960s several In Piazzolla’s discourse on music during the 1960s displays the typical the displays 1960s the during music on discourse Piazzolla’s Perhaps ironic intentions, or just being caught up in the moment,ex the in up caught being just Perhapsintentions,ironicor Regarding the role of the avante-garde, Piazzolla, in a more literally messianic tone avante- the tango in travelers fellow Piazzolla’s of influential most the of list A Piazzolla’s music, of course, frequently breaches these boundaries. 25 una forma de expresión nueva expresión de forma una As “vanguardistaa tango,”del therefore, Piaz la quiebra la 23 Rather than “Shomber” and “Shomber” than Rather de un tango que ya no ya que tango un de ; algo similar a lo a similar algo ; 24

------Alto, pero sus trabajos, de letra y música estudiosamente anticuadas,son estudiosamente música y letra trabajos,de sus peroAlto, 26 The authors of a recent book on Astor Piazzolla attribute Borges’s decision go.For tangothe onceexpress to again courage joy,and to had musicians Casares: debió ser puramente mediática. De lo contrario resulta poco comprensible y no explica no y comprensiblepocoresultacontrario lo mediática.puramenteDe ser debió It seems unlikely, therefore, that when Borges accepted Piazzolla’sacceptedBorgesinvita when unlikely,therefore,that seems It quarian setting for thistexts. discover new musical forms. copied from Piazzolla’s avant-garde discourse. Nevertheless, his openness ejercicios de nostalgia de lo que fue, llantos por lo perdido, esencialmente how the relationship unraveled. Bioy with discovery this shared he 1964,4, July On aesthetics. tango his fore, an effort to reconstruct and reestablish the musical forms of the early ran, a veces con felicidad, milongas del bajo de la Batería o del barrio del barrio del o Batería la de bajo del felicidad,milongas con veces ran,a elabo y valiente tono ese buscan actuales compositores “Ciertos the tango: on views earlier his with inconsistent not is forms musical new to they argue, it is difficult to explain not only the decision itself, but also but itself, decision the only not explain to difficult is it argue, they Otherwise,considerations. media to entirely composer the with work to anti on havewouldinsisted he later together,months fewwork a to tion of tenets basic most the of one undermined discoveryhad recent time.A tan the rescue to suffice approach,not antiquarian would strict tangos,a tristes aunque la sea alegre” ( Borgesapproachreasonsantiquarian other an forrejectinghad the at “Después de arduas negociaciones, Borges accedió colaborar con Astor. La elección el que vino después, o las interpretaciones que después hicieron con los con hicieron después que interpretaciones las o después, vino que el el originales, tocadas por orquestas de entonces. El efecto —bueno, contra —bueno, efecto El entonces. de orquestas por tocadas originales, etn a tno viejos, tangos las están y Peyrou, nosabésloquees…”(Bioy Casares 935) Dice: “Compré unos discos de trapo, que no parecentrapo,naturales.Dice: doblan no de discosSe “Compréque unos rápidos es de una increíble trivialidad. Gardel habrá dramatizado el tango; todos, como los relojes de Dalí. Forman una historia o antología del tango, lo que he sostenido a lo largo de toda la vida— el efecto de esos tangos esos de efecto el vida— la toda de largo lo a sostenido he que lo pero en vano: ni siquiera parecen tangos. Y luego,están,tangos.desde primeros Ahí jazz habrá influido, pero el tango que sentimos no es el primero, sino sino primero, el es no sentimos que tango el pero influido, habrá El choclo, Unión Cívica, Don Juan, Don Cívica, Unión choclo, El 26 Although one should not underestimate OC. 1923-1949 El choclo, Don Juan choclo,Don El Unión Cívica 264). For Borges, there , que tanto gusta a ,reconocibles, n versiones en - - - - -

Reconsidering the 1965 Collaboration between Borges and Piazzolla 11 John Turci-Escobar 12 27 28 gestedonecouldthat view Borges’s milongasattempt an as rewriteto José Hernández’s querría –manifiesta—que estos versos, que necesitan, desde luego, el sostén dela música, greatest modern writer and her most influential musician. Ignoring these even before his encounter with Guastavino. One can infer this if one reads the quotation el desenlace delvínculo” ( Martín Fierro could continue to pursue this exercise in a popular genre. This pursuit This genre. popular a in exercise this pursue to continue could en unavoz coloquial, acriollada.” how he and Piazzolla were working together, Borges provides what may what providestogether,Borges working Piazzollawere and he how and even personal motivations that led to their intersection of Argentina’s social, aesthetic, of web complex the oversimplifies motivation only his how media considerations influenced Borges’s decision,interpreting it as Borges credits Piazzolla, not Guastavino, for inspiring this exercise in a in exercise this inspiring for Guastavino, not Piazzolla, credits Borges above against the grain, and notices Borges’s slip when he says that Guastavino had Guastavino that says he when slip Borges’s notices and grain, the against above subsequently for Ben Molar,Ben Piana,Santiago,forHugo Sebastian subsequentlyBorges and tion by Carlos Guastavino. By agreeing to write milongas for Piazzolla, and this intersection leftbehind, aswell astheirbroader significance. identified as one the poet’s earliest and most elusive aspirations: aspirations: elusive “cantar most and earliest poet’s the one as identified oe Bre’ ssand rocpto wt tno ad iogs He milongas. and tangos with preoccupation sustained Borges’s nores his nel texts the into window interpretive crucial a closes turn, in motivations, heard of hissimpleverses. popular genre. popular describing After project. literary broader Borges’s for significant proved puedan gustarle sombra ala Ascasubi” deHilario (“DeGardel aJorge Luis Borges” 22). be thefirstprinter version of how hebeganmilongas: writing As noted above, Borges wrote his first milonga after a casual sugges casual a after milonga first his wrote Borgesabove, noted As iwn te ogsPazla none a etrl mda rvn ig driven media entirely as encounter Borges/Piazzolla the Viewing Use locution Usefrom final article.version of Nicolás Lucero, issue. this Lucero sug has Ultimately, Borges probably had already begun writing or considering milongas, considering or writing begun already had probably BorgesUltimately, —aclara— de mi capacidad para este para capacidad mi de —aclara— gos se abrían paso a través de mí, espontáneamente, casi sin interven sin casi espontáneamente, mí, de través a paso abrían se gos Cuando Piazzolla propuso este trabajo me sentí honrado, pero dudaba, pero honrado, sentí me trabajo este propusoPiazzolla Cuando como si mis mayores lo hicieran. (“De Gardel a Jorge Luis Borges” 22, my ción de mi voluntad, y que un emphasis) Luego combrobé, no sin algún asombro, que las letras de milongas y tan antiguo . But, Borges also had another nineteenth-century interlocutor in mind: “Yo 27

fondo criollo fondo More significantly, this exercise allowed Borges to chan to Borges allowed exercise significantly, this More OC 244). ad hs ahee ht ioá Lcr has Lucero Nicolás what achieve thus, and , 28 antiguo fondo criollo

ejercicio un tanto inusitado para mí para inusitado tanto un ejercicio componía esos versos, ------. 33 32 31 30 29 gos that most directly expresses the insolent bravery of the famous fight famous the braveryof insolent expressesthe directly most that gos eto para un tango en la nochecita”tango la paraun en eto Thisessay collected,is revisions, minimal with in rados. 1919-1929 corner stores, and the vacant lots, the milongas and first tangos define the variety of informants related to the beginnings of the tango, including including tango, the of beginnings the to related informants of variety wrote two substantial essays on the subject, one early in his career, the career, his in early one subject, the on essays substantial two wrote ers andtheepic dimension of theirknife fights. te a a etbihd utrl figure. cultural established an as other acquired through books. Early in his career, when he wrote for popular popular for wrote he when career, his in Early books. through acquired second essay, “Historia del tango,” appeared in 1955, as an addition to the second edi second the to addition an as 1955, in appearedtango,” del essay,second“Historia acompañando losacordes con movimientos (32). deltorsoydelospies” the under penned tango, the of history published first the to refers clearly trece” año el en conversada muy fue cuestión “La clause tango”,the del “Ascendencias in ample, as theyear of itspublication. literature on the tango, and had consulted numerous relatively obscure relatively numerous consulted had and tango, the on literature landscape of the of landscape spheres in Borges’s mythical Buenos Aires. Like the dirt alleys, the pink pink the alleys, dirt the Like Aires. Buenos mythical Borges’s in spheres stories. viewed as the primordial tangos: “tangos que oía como en éxtasis, cerrando los ojos y ojos los cerrandoéxtasis, en como oía que “tangostangos: primordial the as viewed favorite tangos viscerally. topic. ticipate in a highly visible project on the tango.the well-known,on projectBorgesa highly visible had a ticipatein his felt Borgesintellectual; only not was music the in interest poet’s the takenly that this essay formed part of the first edition of edition first the ofessay part this takenlyformed that of tion nineteenth-century sources. nineteenth-century musicians and their relatives, guapos, compadritos, and policemen. But policemen. and compadritos,guapos, relatives, their and musicians a with interacted and out sought Borges newspapers, and magazines pseudonym Viejo Tanguero. More personal considerations may have Borges’s piqued desire to par Milongas and tangos are a recurring topic in Borges’s poetry and short He wrote two poems on the tango,pendenciero:the querenciero;“Sonother onone the poems wrotetwo He Borges what of view his narrated poet, the of nephewBorges, Torres de Miguel ex For lines. the between reading requires often sources Borges’s Ascertaining Oneof these lectures istranscribed in Borges published his first essay on the tango, “Ascendencias del tango” in 1927. in tango” del “Ascendencias tango, the on essay first his published Borges 30 Evaristo Carriego Evaristo ogs a fmla wt ms o te otmoay secondary contemporary the of most with familiar was Borges 33 Indeed, the milongas and first tangos provide the music of the of music the provide tangos first and milongas the Indeed, , and “Eltango,”in first published orillas . It is surprising how often critics and scholars, assuming mis assuming scholars, and critics often how surprising is It . . But it is the aural image of the milongas and tan and milongas the of image aural the is it But . 32

31 Carascaretasy His knowledge of the tango was not only not was tango the of knowledge His El círculo secreto March 1926,3 collected in 29 El idioma de los argentinoslos de idioma El e etrd ulcy n the on publicly lectured He Sur julioyagosto 1958. Evaristo CarriegoEvaristo (86-96). ,1930 identify 111-21. The Textosrecob ------

Reconsidering the 1965 Collaboration between Borges and Piazzolla 13 John Turci-Escobar 14 “Los dos borges.” For an enlightening perspective on Borges’srelationshipcontentious onperspective enlightening borges.”an Fordos “Los n a ofr f eoclain a, ned etne. aao dedicated Sabato extended. indeed, was, reconciliation of offer an And 34 Tango discusión yclave Casares reports asignificant developmentin this feud: f ogs netie te da f eoclain ih aao fe read after Sabato with reconciliation of idea the entertained Borges If was neither profound nor accurate. And, his views in 1963 probably had probably 1963 in views accurate.his And,nor profound neither was For Borges, it seems safe to surmise, Discépolo’s definition of the tango the of definition Discépolo’s surmise, to safe seems Borges,it For long-running feud with Argentine writer Ernesto Sabato. Ernesto writer Argentine with feud long-running with Sábato etal, see Pauls 30-43. this definition: thoughts: ing this dedication, the contents of the next page surely gavesecondpagesurely next him the dedication, contentsof this the ing tos 151-62.tos Sabatoarticulatesdiscrepancies aesthetic his Borges with Sabato, Ernesto in not changed much by 1969, when he offered the following dissection of dissection following offeredthe he when 1969, by much changed not For a summary of Sabato’s debates with Borges in the 1950s, see María Luisa Bas LuisaMaría1950s, see the Borges in with debates Sabato’s of summary a For gentino que son el resentimiento y la tristeza, sino que prepararon el ad prepararonel que tristeza,sino la y resentimiento el son que gentino cusión yclave Casares 935) venimiento del fenómeno más original del Plata:originaldel más fenómeno tango… venimientodel Peroel Enrique decir que los hombres se separan por lo mismo que quieren.ahora,que Y ale mismo lo separanpor se hombres los que decir podríamos quizá parecen, se que lo en diferencian se cosas las que dice es libro eseTambién, materia. la sobre libros otros los y Bates en dicho cho megustaría quenoledisgustasen. Creameló. (“LosdosBorges” 9) convidarlo con estas páginas que se me han ocurrido sobre el tango. Y mu como un puente que se me ofrece para la reconciliación con Sabato.” (Bioy creíble que parezca, hay discípulos de Sabato, van a publicar un libro sobre Santos Discépolo,Santos creador más máximo,definición su creo yola que lo da entrañable y exacta: “es un pensamiento triste que se baila.” ( baila.” se que triste pensamiento un “es exacta: y entrañable me en país este sobre precipitaron se que immigrantes de millones Los Aristóteles como así y alejó; nos tarde,políticorencorLuego, más el años haya se no que nada contiene no que ya injustificable, tanto tango,un el ogs “n oaa uo cats icpls e aao pru pr in por porque Sabato, de discípulos cuantos unos Losada, “En Borges: jados como parece que estamos (fíjese lo que son las cosas), yo quisiera yo cosas), las son que lo (fíjese estamos que parece como jados nos de cien años, no sólo engendraron esos dos atributos del nuevo ar nuevo del atributos dos esos engendraron sólo no años, cien de nos 11) toBorges: 34 In 1963, Bioy1963, In Tango,dis ------36 35 Caro. That De Caro’s tango recordings are mostly instrumental probably instrumental mostly are recordingstango Caro’s De Caro.That during the 1920s and 1930s.and 1920s the Manyduring versionsofthese were probablyDe by concernedthat project a in participate to invitation acceptan to disposed cation of Sabato’s of cation would havewouldcomfortable Borges. most for fit the been They were from the escribir la letra de una suerte de Historia del tango,del en Historia de suerte una de letra la escribir him personally. him about the book, he proposed a novel project to Bioy Casares: “Me propone Piazzolla? From the preceding, I would suggest,preceding,wouldpubli Fromtentatively,the I the also after that more conservative factions. See Ferrer 215-17. Casares 1056). same generation; indeed they were born the same year.same generation;Borgesknewthe same werealso theyborn indeed De Caro” (Bioy Casares 954). So by 1964 Borgesseveralbe 1964 had Caro”Casaresreasonsto 954).by (Bioy De So that followed, however, De Caro never changed his style, and as a result, a as and style, his changed never Caro followed,however,De that language. musical its refining and reshaping in role tral important most the of one was Caro De esteem.Borges’s in them raised heard had Borges after soon 1963, 30, September on Indeed,tango. the in their in original versions, but the in more polished versions that he heard interested in a high profile project on the tango. The question now, is why musicians in the history of the tango. During the 1920s, he played a cen a played he 1920s, the tango. During the of history the in musicians la cartera una tarjeta de : tal vez éste haga un trabajo más adecuado (Bioy adecuado más trabajo un haga éste vez Caro:tal De Julio de tarjeta una cartera la It seems likely that Julio De Caro, a violinist, director, and composer and director,violinist, a Caro, De Julio that likely seems It And, like Piazzolla thirty years later, De Caro faced considerable resistance from the en tiene “[q]ue Casares Bioy collaboration,to the Borgessaid of time the Around útmmne agin u n prc hbr escuchado haber parece no que alguien últimamente, Y Rodríguez PeñaRodríguez voy caminando por la calle y veo que alguien silba, reconozcoinmediatasilba, alguien que veo y calle la por caminando voy diría, de una emoción; luego “triste”, ¿por qué triste?, habrá tangos tristes, ciertamente mis conocimientos de música y de baile se confunden con la la confundencon se baile de y música de conocimientos ciertamentemis canción); y luego, “que se baila”, me parece algo agregado, porque si yo si porque agregado,algo parece me baila”, se “que luego, y canción); coraje, (es verdad que estoy pensando en el tango milonga y no en el tango triste que se baila”. Y yo querría oponer tímidamente, no, no creo que la música siendo un arte proceda de un “pensamiento”; yo térmi primer En objeciones. tímidas unas oponer querríaabsoluta, nada mente eltango. ( pero para mí el tango es todavía una expresión de valentía, de alegría,de valentía,de de expresión una todavía es tango el mí para pero 35 Also, as noted above, Borges heard the first tangos not tangos first the heardabove,Borges noted as Also, Tango discusión y clave Tangoy discusión o “El choclo” [sic] ha dicho: “El tango es un pensamiento un es tango “El dicho: ha [sic] choclo” “El o El círculo secreto 93) , Borges may have been more pre more,Borgeshave maybeen sketches tímidamente 36 In the decades the In l cuzquito El ,

para Julio para porque o - - - - -

Reconsidering the 1965 Collaboration between Borges and Piazzolla 15 John Turci-Escobar 16 38 37 Quinteto Nuevo Tango, several of the best instrumentalists of the time,a the of Nuevoinstrumentalists Tango,Quinteto best the severalof drastically. As a result, most orchestras disbanded (Ferrer 618). A Borges/ A (Ferrer618). disbanded orchestras result,most a drastically.As caught theattention of therecord company executives. a a epnie rpsto. t novd h mmes f Piazzolla’s of members the involved It proposition. expensive an was have must surely albums, record bought that youth the Piazzolla, with fates.haveSo, similar facedwould time the at musicians other most with last his made He world. tango the of sidelines the on increasingly was one of a handful of few tango musicians doing well at the time, and the and time, the at well doing musicians tango few of handful a of one a manuscript score and a semi-private performance or two. Collaborations scribed his music as “helada and cerebral.” Sabato had used similar images in his cri his in images similar used had Sabato cerebral.” and “helada as music his scribed sic, butthisinterest collapsed after histragic 1964. deathin Piazzolla’s confidently staring back at them from the cover of the trendy the of cover the from them at back staring Piazzolla’sconfidently Buenos Aires.” At the time Piazzolla had a fiercely devoted that Piazzollaa following time had the At Aires.” Buenos style.tangocouldother time haveany the doubt at musicianI gotten this studio. The album cover features an original artwork in the establishment, tango fierce the faced from resistance culture.still sical He spin. De Carocollaboration,De therefore, havenot wouldthan further gone much zolla was hisbestbet. famousactorLuis Medina Castro. The recording required four days the in Rivero,Edmundo singer great the featured It chorus. a orchestra,fulland the critics’ voices. One can imagine their consternation when they saw they when consternation their imagine can One voices. critics’ the diminished recordings of number the and less, and less it played tions tail1960s,moreover,a mid the 1953.in recordingwasBy tangoin music if Borges hoped to participate in a high-profile project on the tango, the Piaz on high-profile project a in participate to Borgeshoped if tique of Borges’s works. nificant accomplishment. The album even had a degree ofcommercial a degree had even album The accomplishment. nificant magazine project off theground. The imprimaturof Borges certainly helped. records.his bought was youthperformancesand Thatpatronizedthe his but the general decline in the popularity of tango music had dampened had music tango of popularity the in decline general the but That such an album could be recorded in the 1960s is already a sig a already is 1960s the in recorded be could album an such That Borges/Piazzollacollaboration the from emerged that album LP The During During the 1960s, Astor Piazzolla was a central figurein Argentine mu It is interesting to note that Piazzolla also had a falling out with Sabato, who de whoSabato, with out falling a had Piazzollaalso that note to interesting is It Julio Sosa, a Uruguayan singer, created a temporary surge interest in for tango mu 37 There were fewer and fewer venues for performance, the radio sta radioperformance, forthe venuesfewer and fewerTherewere PrimeraPlana 38 .read:The heading “AstorPiazzolla: músicade La

nueva figuración ------

1056) His opinion of these milongas was more sanguine a few weeks later, 40 39 (“Records”),wasit reissuedand multipletimes. successEventhis though Tango guage. The composer did not use Borges’s lyrics as a springboard for the for springboard a as Borges’slyrics use not guage.did composerThe Chiclana.” He composed a milonga tanguera, featuring the fast, playful, fast, the featuring tanguera, milonga a composed He Chiclana.” do se le pregunta acerca de las posibilidades interpretativas de estas letras, Piazzolla con In his liner notes to notes liner his In disenchanted withtheproject? discovery of new musical forms, but rather, “constrained himself to the to himself “constrained rather, but forms, musical new of discovery degree of truth and sincerity in this statement. was short lived, it is significant because, at the time, very few tango record with its characteristic guitar figuration and improvisatory air: improvisatory and figuration guitar characteristic its with of responsibility that Piazzolla felt, however, is his choice of musical lan musical of choice his however,felt,is Piazzolla that responsibility of according to the reporter from reporter the to according and tough rhythms that characterize the simple, primitive milongas of the as an exercise in model composition. The has album four settings of lyrics siglocon vueloun muy especial; siguióademás estrictamente dado ha le sentidoque el le dice al tango.” He composed a milonga in the style of the “payadores,”the of style the in milonga a composed He tango.” al dice le harmonicdesign,and lodic follows tango1940s:the ofthe style “Alguien success. It topped the rankings of record sales compiled by compiled recordsales of rankings success. the topped It Borges.” “DeGardel aJorge Luis Borges.” weakness is evident hissettings in of Borges texts (245-48). ferent genre or style of tango. Piazzolla composed a tango that, in its me its in that,tango tango.a Piazzollacomposedof style or genreferent res on March 30: “Las otras [milongas] no me parecen (Bioy Casares mal” ( and Borges”)LuisJorge a Gardel (“De títere.” “El century: the of turn dif representsa settingproject. Each this for especially Borgeswrote that type of of music from thecentury.” thebeginning a is there that suggestlyrics Borges’sof meaning and form the follow to ings even made it to these charts, much less to top. Why was Borges so Borges was Why top. to less much charts, these to it made even ings ity” that he felt collaborating with Borges. The composer’s stated efforts stated composer’s Borges.The with collaborating felt he that ity” testa que se ajustó mucho a la letra y que se remitió al tipo de música de principios de principios de música de tipo al remitió se que y letra la a mucho ajustó se que testa PiazzollasettingapproachedBorges’softask milonga tangosthe and Borges was satisfied with these threeBorges these Bioy settings,Casa with told satisfied he was so or The preceding is based on the following passage from the Fischerman and Gilbert assert that Piazzolla lacked an ear for poetry and that this that and poetry Piazzollafor assertthat ear lacked an Gilbert and Fischerman ). El tango El , Piazzolla speaks of the “great responsibil “great the of speaks Piazzolla , La Nación La : “Borges sostiene que Piazzollaque sostiene “Borges: 39 More telling of the weight 40 La Nación PrimeraPlana article: “Cuan

“Jacinto “Jacinto El ------

Reconsidering the 1965 Collaboration between Borges and Piazzolla 17 John Turci-Escobar 18 41 1056 and108-09. Gardel a Jorge Luis Borges” 22) Through Bioy Casares, we know how Borg choices, suggestions that garnered scornful comments from Borges. See Bioy Casares Bioy See Borges.from comments scornful garnered that suggestionschoices, quintet in 1961. The new generation, he asserted, “was indifferent to the to indifferentasserted,generation, “was he new The1961. in quintet did not question the quality of the poems that he receivedhe that poems the fromofBorges. quality the question not did cerned Piazzolla, buthow thelyrics expressed them. the1960s, During he composer had voiced similar complaints during the presentation of a new why Borges was upset, one only has to read how the composer charac composer the how read to has only one upset, was Borges why es characterized thisslow andsadmilonga: ación a Piazzolla”) and (“Astor Piazzolla y el llamado tango vanguardista”). the about complaints usual his James,Borges St. voiced Confitería the at de poet’s the disregarding completely or to, listening not either was he siguiendoido ha de pasión admirablementemovimientosla los de todos Prima facie, Piazzolla’s slow and sad setting of Borges’s texts suggests that ForPiazzolla, therefore, hackneyedreliancesadnessand ofon the themes Borges. One does not have to listen to Piazzolla’s setting to understand to settingPiazzolla’s to listen to have not does One Borges. los versos” (“DeGardel aJorge Luis Borges” 22) sadness of the tango-canción, Piazzolla would certainly have agreed.haveThecertainlytango-canción, Piazzolla would the of sadness tea over meeting first their one.If, during simple a not standing,though sire for brave and joyful tangos. Closer consideration suggests a misunder resentment was only a symptom of a larger problem, that is, the poor qual (“Interpel poets authentic younger, recruit to (lucha) “struggle” his to repeatedly bemoaned the poor quality of tango lyrics, and called attention (“Amigosdel problem vital a was this that sad,and was it because tango the to it terized ity of the lyrics of the tango-canción. It can be safe to assume that Piazzolla buen tango”)” But it was not the sad affect of the tango-canción that con tango-canciónthat the affectof sad the not was it tango”)”But buen t a te orh iog stig ad ny hs etn, ht upset that setting, this only and setting, milonga fourth the was It Piazzolla seems to have made minor suggestions about versification and word and versification about suggestions minor made have to seems Piazzolla se llevan los cantos gregorianos a una milonga. Así salió. También tiene Tambiénsalió. Así milonga. una a gregorianos cantos los llevan se final de canto jondo. Esunaporquería. (Bioy Casares 1056) La músicaLa milongade Piazzollaque hizo para Paredes, como éste di un es yo no puedo estar muy apenado por su muerte. Además lo vi siempre a siempre vi lo Además muerte. su por apenado muy estar puedo no yo Paredesgenérico.personajecomo un Yoalegre,milonga casi una imaginé funto, es tristísima. Comprenderás que si Paredes murió en el veintitantos por cierto épica: ésta es quejumbrosa. Dijo Piazzolla que por primera vez primera por Piazzollaquejumbrosa.que Dijo es éstaépica: cierto por La Nación La reporter: “una milonga lenta y tristona” (“De tristona” y lenta milonga “una reporter: 41 ------

“A don Nicanor Paredes:” a slow tempo, a sparse opening texture, and a and texture, opening sparse a tempo, slow a Paredes:” Nicanor don “A A o Ncnr aee: “et l ncsdd e ae u argo e cá de arreglo un hacer de necesidad la “Sentí Paredes:” Nicanor don “A 43 42 ga triste,” “A don Nicanor Paredes” is composed in a minor key, an obvi key,an minor a in composed is Paredes”Nicanor don “A triste,” ga guitarra ybajo para acompañar elcanto” ( He just did his best to follow the meaning of the texts. In the case of “A of case the In texts. the of meaning the follow to best his did just He don Nicanor Paredes,” the model he was trying to emulate, becomes clear don Nicanor Paredes,” thispursuitledhimtoaslow andsadsetting. climactic fugato passage. The most telling intertextual relationship,how intertextual telling passage.most Thefugato climactic contains hints of an intertextual relatinship between “Milonga triste” and when viewed against the backdroptangohistory.ofthe Piazzol Musiciansviewedagainst ofwhen whichwas recorded released1962. and in ever, is that they both feature allusions to Medievalever,featureto allusionstheyboth music. that Theis chant-like ous choice given the sad affect of both pieces. While “Milonga triste” uses azzolla claimed to have based on eight measures of Gregorian chant ( chant Gregorian of measures eight on based have to claimed azzolla ambientar todo el tema en un Paredes” uses the natural seventh. As a result, it has a modal quality that quality modal a has result,it seventh.a naturalAs the Paredes”uses Piana and lyricist wrote in the 1930s. The fifth milonga fifth The 1930s. the in wrote Manzi Homero lyricist and Piana tango la’s generation did not learn to write milongas from turn-of-the century turn-of-the from milongas write to learn not did generation la’s the leading tone characteristic of common-practice music, “A don Nicanor have may triste” “Milonga melody the characterize that notes repeated records with the “Quinteto Nuevo Tango.” The liner notes to this album album this to notes liner NuevoTango.”The “Quinteto the recordswith that they wrote together is “Milonga triste” (1931). This milonga, I believe, inspired Piazzolla inspired medievalcreatea atmosphere.to is themodelfor Piazzolla’s setting of “Adon Nicanor Paredes”. zolla’s arrangement ismore Baroque thanMedieval (273). not provide enough information to identify the source chant. Like “Milon mara, para esta fabulosa obra de Sebastián Piana y Homero Manzi.Homero y Quise Piana Sebastián de obra mara,fabulosa esta para Sebastian composer that milongas of series the rather,from but models, predominate in the melodic theme of “A don Nicanor Paredes,”NicanorPidon which “A of theme melodic the in predominate bandoneon. Piazzolla plays therecording. bothpartsin See Saito (279). ht izol ms lkl itne t ahee n i stig f “A of setting his in achieve to intended likely most Piazzolla What This version of “Milonga triste” has several features in common with commonseveral featuresin has triste”“Milonga ofThis version Piazzolla included a version of “Milonga triste” in in triste” “Milonga of version a included Piazzolla Oscar del Priore and Irene Amuchástegui have noted, I believe correctly,Piazbelievehavenoted, Amuchásteguithat I Irene and Priore del Oscar doubled for arranged 1970, in milonga this of version new a recordedPiazzolla ). Since this phrase consists of a repeated four-measure unit, it does repeatedunit,four-measureit a of consists phrase this ).Since clima medieval 42 Nuestro tiempo This is the first album that he that This album first the is , empleando solamente violín, 43 Repeated notes also Repeatednotes , myemphasis). usr tiempo Nuestro El ------,

Reconsidering the 1965 Collaboration between Borges and Piazzolla 19 John Turci-Escobar 20 46 45 44 gorianchant, mysticalits with connotations, affectthe suits Piazzollathat cusses hisrelationship withNicolás Paredes considerable in detail Alifano (40-43). in dio interview with Antonio Carrizo, Borges remarked: “Bueno, esta letra esta “Bueno,remarked: BorgesCarrizo, Antonio with interview dio of dint es inferior a la otra, desde luego.” The other The luego.” desde otra, la a inferior es offered interpretation asimilar (Bioy Casares 1561). agreed.like“I veryit much.onelacks: other that a has something it has It interview,Carrizothe discussedChiclana.” and in dis was“Jacinto earlier sadness extreme not is it it, to affect an ascribe to were one If sober. and Nicanor don “A of melody theme,the lyrical this of backdrop the against death. and Paredes,” which is built entirely from repeated notes, steps, and an occa an and steps,notes,repeated from entirely built is which Paredes,” Piazzollamay have associated medievalwith music. and Pelinski. For an indispensable discussion of the composer’s music and aesthetics, and music composer’s the of discussion indispensable an Pelinski.For and large melodic leaps, descending “lament” bassline,chromaticism, es leaps,“lament” and largemelodicdescending sional skip and contains not a single chromatic semitone, sounds serenesemitone, sounds chromatic single a not contains and skip sional Borges changed the first name to Nicanorin deference to Paredes and his family. He dis Kuri, the in in the lyrical theme of Piazzolla’s most famous and personal piece, “Adiós (“todo sincere” heartfelt,and verysimple, setting:“very his for intended mucho a Paredes.”a mucho quería lo yo porque interrupted” Borges “Bueno,” has....” it melancholy, mark. Indeed, a man whom Borges thought of as “intelligent and discreet” Heard 79) (Atlas father his of death the commemorated which nonino,” expressgrief to usedPiazzolla typically that features musical the of none sincero”,sentido,simple,muymuyy lowered seventh degree corresponds withthefirstsyllables“ustedes” of and“Paredes.” portertime,at was strictlyBorgesfollowing that “he meaning the gave to pecially, “blue notes.” The most effective collusion of these features occurs but melancholy perhaps tinged with nostalgia. If, as Piazzolla told a re a told Piazzolla as If, nostalgia. with tinged perhaps melancholy but between Borges andPiazzolla (193-220). After hearing the recording of “A don Nicanor Paredes” during a ra a during Paredes” Nicanor don “A of recording the hearing After letras izol’ stig f A o Ncnr aee, mroe, displays moreover, Paredes,” Nicanor don “A of setting Piazzolla’s The theme of “A don Nicanor Paredes” is composed in the so-called Aeolian mode. The Nicolás Paredes was a For discussions of Piazzolla’s musical language, see García Brunelli, Mauriño, Kuss, Piazzolla, la música límite música la Piazzolla, canto jondo ,” the choice of a melancholic affect may not have been that off the 45 These features, musicologist Alan Atlas has noted, include include noted, has Atlas Alan musicologist features, These in this setting. in 46 Paredes, seenbe continued,to wantpoet not the did caudillo . Kuri devotes a chapter of his book to the intersection the to book his of chapter a devotes Kuri . in Palermo, the neighborhood of Borges’s childhood. El tango El letra ). Pace , which had been heard been had which , 44 Borges, there is not a Borges,not is there This allusion of Gre ------47 With the milongas Borges realized an elusive literary aspiration, that of that aspiration, literary elusive an realized Borges milongas the With arz 6-5. hs mmre my ae igd A o Ncnr Pare Nicanor don “A tinged have may memories These 64-65). Carrizo Casares 481). If Borges was sincere in his appreciation of Paredes, then Paredes, of appreciation his in sincere was Borges If 481). Casares It is possible, as I suggest above, that he wrote at least six milongas for this des” with the melancholy tone noted by Carrizo, and rendered musicallyrenderedCarrizo, and by noted tone melancholy the with des” dozenrecordings artists,other by various musical in traditions styles and cal immortality but that of Chiclana. Jacinto The original recording of this cally brave and joyful strongman of Palermo, but as a sad melancholy, and finding his criollo poetic voice. Now, Piazzolla was not the catalyst for the catalyst not was Piazzolla Now, voice. poetic criollo his finding a through solely rememberedthose of immortality the is expugnable).It as a generic character, but as a man. And he may havemaysucceededbecause he man.And a as character,genericbut a as have yielded a significant portion of the milongas collectedin the first edi may that genre,one popular a in exercise this continuing for stimulus a Piazzollaan handing turn.By bad Paredesa friend his havedonemay he Paredes”end,the In Chiclana.” “Jacinto to inferior wasit Borges who had Borges remembered him as a very brave and generous man (Borges and (Borges man generous and bravevery a as him rememberedBorges Borges’s first incursion in the genre. He had already written at least one least at written already had He genre. the in incursion first Borges’s epi the as immortality,not dubious a Paredesto condemned Borgeshad Guastavino supposedly encouraged thepoettoexperiment genre. withthispopular lamenting shadow.lamenting style. Doesanyone remember Albornoz? failed towrite ajoyful andepic milonga for Paredes. tainty concerning which if any milongas he wrote specifically wrotespecifically for he milongas any if concerningwhich tainty wonderfulRivero.the renditionEdmundo by There have beenwell over a inferior lyric, amplified by what he supposed an inferior musical setting, musical inferior an supposed he what by amplified lyric, inferior milonga by 1963, which was set to music by Guastavino.by music to There1963,cerlessset was by whichis milonga to part, small no in due anthologies, multiple in appeared has milonga (in unassailable also but linda),(muy nicevery only not is that mortality project. piece of music, like “la de Vargas” or “la milonga de Morales” (Bioy by Piazzolla. And this is perhaps why Borges considered “A don Nicanor don “A consideredBorges why perhaps is this Piazzolla.And by In the end,ofNicanorthe name In Paredesthe was not it attainedthat musi im of form a describes Borges Casares, Bioy with conversation a In I have also suggested the possibility that Borges was writing milongas even before 47 If this is the case,the is this If collaborationhis then Piazzollawith provided El tango El ------.

Reconsidering the 1965 Collaboration between Borges and Piazzolla 21 John Turci-Escobar 22 del ángel.” This exercise must also have encouraged Piazzolla to see him see haveencouragedPiazzollato also exercisemust Thisángel.” del cinto Chiclana,” is also the most conservative. Of the four, only “A don “A only four, the Of conservative. most the also is Chiclana,” cinto mi first the between stage transitional an as project this for composed emerge directly from the Borges/Piazzolla partnership that were to proveBorges/Piazzollato werethe that fromemerge directlypartnership history of the tango ( histo This historian. music Piazzolla,the of beginning the marked have orches skillful its despite But,features. novel contains Paredes” Nicanor a suggest album the project,ontracks the approachsecure the Borges’s to in participation as the way to rescue the tango. Nevertheless, this is how Piazzolla claimed Piazzolla. It certainly stimulated his continued elaboration and develop and elaboration continued his stimulated certainly It Piazzolla. Paredes” isnotworth all thetrouble itcreated. ultimately, hecould notidentifywithitsnew forms? longa, which he supposedly wrote for Guastavino, and those that he wrote style of the 1900s tangos. Although Piazzolla may have asserted such an such assertedhave mayPiazzolla tangos. Although 1900s the of style self and his music from a broader historical perspective. Indeed, it may it Indeed,perspective. historical broader a from music his and self zolla intermit making background, the to recede voice compositional zolla’s for subsequent projects over thenext decade. the composition for flute and guitar, riographic impulse manifests itself in the two 1967 albums devoted to the Nicanor don “A inconsequential. been have to seems picture, larger the in and, dated sounds piece Rivero,this by rendition vocal inimitable the Fillippo,and Di Roberto by performed obbligato oboe lovely the tration, tent appearances, like anomniscientnarrator. the in milongas Borges’s set he is, that project, the approached have to music,if evennew a genrefor the rescuing Borgesin succeedDid tango? of tion ment of the milonga genre,milonga“Milonga the 1962,ofthe ment with in begun had which modeling various styles from the past must have been a useful exercise for “Ja pieces, the of successful most The style. musical in changes nificant the development of Borges/Piazzolla the the in of nificance collaboration It is the two pieces on the that album we know, with certainty, did not in exercise the themselves, in innovative not were milongas the If sigdisplay not do album the on settings milonga themselves,the In In principle, Borges did not seem to espouse an antiquarian approach La historia del tango. Vol. 2: Época Romántica Para las seis cuerdas seis Paralas bona fide bona La historia del tango. Vol. 1: La Guardia Vieja (1965). One could thus view the milongas he milongas the view thus could One (1965). effort. In the milonga settings, one hears Piaz hears one settings,milonga the effort.In Histoire dutango

), and most successfully, in But what if any is the sig the is any if what But . ) and (Piaz ------49 48 lhuh hs wrs r ruhr ls dvlpd mr goig than groping more developed, less rougher, are works these Although of the album, is a setting of Borges’s 1958 poem, “El tango.” According tango.” “El poem, 1958 Borges’s of setting a is album, the of of the album, recognized the watershed moment: “El tango de antes es antes de tango “El moment: watershed the recognized album, the of hombre vuela y dialoga con el progreso. Su posición es otra, su música su otra, es posición Su progreso. el con dialoga y vuela hombre and aleatory techniques, to break free from the ABAB form that structured Gardel a Jorge Luis Borges”22). On the album, however, the piece is performed by Piaz by performed however,is Jorgealbum,Borges”22).Luis piece a the Gardel the On later works, such as “La camorra,” they signal important changes in the in changes important signal they camorra,” “La as such works, later sada,” was composed in 1960. track Thefirst composedin other, was the appears whichsada,” on to the April 1965 April the to también. Hasta Piazzolla suena diferente” (Lagos). Borges, it turns out, did progreso. el Hoy su de velocidad, su de tiempo, su de hombre del reflejo music. popular the and classical the between boundaries the transgress the Borges match to it expands he Instead, man. the Borges please to zolla’s QuintetoNuevo Tango. most consequential to the discovery of new musical forms. One of these of One forms.musical new of discovery the to consequential most never recognized thismusic astango. music of Buenos Aires. ultimately,to and point, this to up composed had he tangos the of most piece. ro esquina la de hombre “El Borges’sstory on based suite balletpieces, a play a role in rescuing the tango for a new music, even though his body his though evenmusic, new a for tango the rescuing in role a play rows twelve-tone with experiment to excuse an become texts The poet. In these two settings, Piazzolla does not curtail his musical languagemusical his curtail settings,not Piazzollatwo does these In For adifferent perspective on these works, see 247-8. Fischerman andGilbert Interestingly, Piazzolla states that this piece would be for reciter and orchestra (“De 48

La Nación La 49 There was one perceptive critic who, in his review article, Piazzolla had not yet composed this composed yet not had Piazzollaarticle, Washington University St. in Louis John Turci-Escobar - -

Reconsidering the 1965 Collaboration between Borges and Piazzolla 23 John Turci-Escobar 24 “Astor Piazzolla yelllamado tango vanguardista.” “Astor Piazzolla.” “Así maquillaje! son sin Astor Piazzolla.” “Amigos delbuentango.” ---. “Eltan ---. ---. ---. ---. ---. ---. “Carriego yelsentido delarrabal.” ---. “Ascendencias deltango.” Works Cited Azzi, María Susana, andSimon Collier. Atlas, Allan W. “Astor Piazzolla: Tangos, Funerales y Alifano, Roberto. Borges, Jorge Luis. “Apunte férvido sobre tres las Milonga.” vidasdela Bioy Casares, Adolfo. Bastos, María Luisa. El tamañodemiesperanza El idiomadelos argentinos El idiomadelos argentinos El círculo secreto El tamañodemiesperanza 3, 1961. 2008. 2006. Aires: Hispamérica, 1974. Aires: Gourmet, 2008. 77-88. Martín Fierro Martín Fierro 1924-1927: edición facsimilar /estudiopreliminar de of AstorPiazzollaof sobre la obra deAstorPiazzolla Horacio Salas, page 296sand298. tida, 1984. go.” Sur Primera Plana Conversaciones con Jorge Luis Borges (1958): 1-3. . BuenosAires: Emecé, 2003. 4.43(1927): 6. Borges antela crítica argentina, 1923-1960 Borges . Oxford andNew York: Oxford UP, 2000. Clarín . Ed. DanielMartino. BuenosAires: Destino, . Gleizer (1928). Madrid: Alianza, 1998. . BuenosAires: M. Gleizer, 1928. . BuenosAires: EditorialProa, 1926. . (1926). BuenosAires. Madrid: Alianza, 1998. Martín Fierro May 25, 1965: 51. April14, 1961. . Ed. OmarGarcía Brunelli. Buenos La Prensa Le Grand Tango: The Life andMusic La Razón 4.37(1927): 6and8. April4, 1926: 5. August 9, 1965. Democracia . BuenosAires: Atlán Blue Notes . Buenos December .” Revista Estudios - “De Gardel aJorge Luis Borges.” ---. ---. ---. ---. ---. “Lapampa yelsuburbioson dioses.” ---. “Vicente Rossi. ---. ---. ---. “Soneto para untango nochecita.” enla ---. Collier, Simon. “The Tango IsBorn: 1880s-1920s.” Ferrer, Horacio. Fischerman, Diego, andAbelGilbert. Filiberto, JuandeDios. “Lastres milonga?” vidasdela Borges, Jorge Luis, andFernando Mateo. Borges, Jorge Luis, Matamoro. andBlas Borges, Jorge Luis, andAntonio Carrizo. Borges, Miguel deTorres. Del Priore, Oscar, andIrene Amuchástegui. Obras completas. 1923-1949. Obras completas Obras completas Milongas Textos recobrados. 1956-1986 Textos recobrados. 1919-1929 Para las seis cuerdas 16 (42?). Aires: Edhasa, 2009. (1926): 39-40. Song, theStory Borges Picazo eIrmaZangara. BuenosAires: Emecé, 2009. Fondo deCultura Económica, 1997. Buenos Aires: Aguilar, 1998. Buenos Aires: A. Casares, 2004. nos Aires: LC, 1994. . Madrid: Altalena, 1979. . BuenosAires: DosAmigos, 1983. El libro deltango . Ed. Carlos V. Frías. BuenosAires: Emecé, 1974. . Ed. Carlos V. Frías. Vol. 2. Buenos Aires: Emecé, 2005. Cosas denegros . London: Thames andHudson, 1997. 18-55. . BuenosAires: Pleamar, 1965. Apuntes defamilia: mis padres, mitío, miabuela Edición crítica, anotada porRolando Costa . BuenosAires: Emecé, 2007. . BuenosAire: Emecé, 2007. . Vol. 1. BuenosAires: Tersol, 1980. La Nación . Córdoba, 1926.” Piazzolla elmalentendido Diccionario privadodeJorge Luis Borges elmemorioso Proa Dos palabras antes demorir April25, 1965: 22. Caras ycaretas Cien tangos fundamentales 2.15(1926): 14-7. Valoraciones Tango, theDance, the El hogar March 3, 1926: . 1979. Mexico: . Buenos IV.10 1927. . Bue . . -

Reconsidering the 1965 Collaboration between Borges and Piazzolla 25 John Turci-Escobar 26 “Interpelación aPiazzolla.” detango“Hablando con Astor Piazzolla.” ---. ---. ---. ---. “Borges Con Piazzolla.” Molar, Ben, diPaulo. andAlberto Mauriño, Gabriela. “Raíces tangueras obra dela deAstor Piazzolla.” Matogrosso, Ney. Gorín, Natalio, andAstor Piazzolla. García Brunelli, Omar. “Laobra deAstor Piazzolla ysurelación con el Kuss, Malena. “Lapoética referencial deAstor Piazzolla.” Kuri, Carlos. Lagos, Eduardo. “Algo mássobre Borges-Piazzolla.” Piazzolla, Astor. Pelinski, Ramón. “Astor Piazzolla: Entre tango yfuga, enbusca deuna Pauls, Alan. “Literatos: Lahistoriacomo uncangrejo.” La historia deltango. Vol. 1: LaGuardia Vieja Histoire dutango 2000. Aires, 1965. Aires, 1967. (hoy xhoy) (2001): 19-32. Gourmet, 2008. 57-76. Omar García Brunelli. BuenosAires: Gourmet, 2008. 35-56. de Investigación Musicológica “Carlos Vega” dios sobre la obra deAstorPiazzolla la obra deAstorPiazzolla tango como especiedemúsica urbana.” popular identidad estilística.” nos Aires, 1966. ber 1965. El factor Borges Piazzolla, la música límite . BuenosAires: Perfil, 1991. El tango Ney Matogrosso . : Lemoine, 1986. . November, 1965. Music LP. Polydor, Buenos . BuenosAires: Fondo deCultura Económica, La Prensa La Razón Estudios sobre la obra de AstorPiazzolla . Ed. OmarGarcía Brunelli. BuenosAires: . Music Single. Continental, Brasil, 1975. 14 con eltango Astor Piazzolla: amanera dememorias October22. 1961. 4October. 1965. . BuenosAires: Corregidor, 2008. . American Latin Music Review 22.1 La Prensa Primera Plana . Music LP. Polydor, Buenos 12(1992): 155-221. . Music LP. Fermata, Bue April6, 1962. La Prensa Revista delInstituto Estudios sobre 11May 1965: 74. 9Novem . Ed. Estu - - - “Records.” ---. ---. ---. “LaMilonga.” ---. Vega, Carlos. Vásquez, María Esther. Tanguero, Viejo. “Eltango, suevolución ysuhistoria.” Sorrentino, Fernando, andClark M. Zlotchew. Selles, Roberto. “Eltango ysusdosprimeras décadas (1880-1900).” Sarlo, Beatriz. Saito, Mitsumasa. “Discografía completa deAstor Piazzolla.” Sabato, Ernesto. “Losdosborges.” Rossi, Vicente. Piazzolla, Astor, andJorge Luis Borges. Piazzolla, Astor, etal. Nuestro tiempo La historia deltango. Vol. 2: Época Romántica Tango, discusión yclave 1996. 1982. 1999. 151-203. 22, 1913. Aires, 1967. Aires: Corregidor, 1978. 2007-118. Jorge Luis Borges Gourmet, 2008. 263-300. 6-7. Buenos Aires: Lagos, 1975. historia deltango: primera época folkore rioplatense bre la obra deAstorPiazzolla ing. Milan Entertainment, New York, 1997. Primera Plana Danzas ycanciones Jorge Luis Borges: AWriter ontheEdge Cosas denegros. Los orígenes deltango yotros aportes del . Music LP. CBS, BuenosAires, 1962. La historia deltango, la milonga, elvals . Troy, New York: Winston PublishingCompany, Borges & Piazzolla: Tangos & Milongas . Córdoba: Imprenta Argentina, 1926. Borges: esplendor yderrota 30November 1965: 51. . BuenosAires: Losada, 1963. . Ed. OmarGarcía Brunelli. BuenosAires: Índice deartes yletras . Vol. 2. BuenosAires: Corregidor, Mil novecientossesenta ycuatro . BuenosAires: Ricordi, 1936. . Music LP. Polydor, Buenos Seven Conversations with . Barcelona: Tusquets, . London: Verso, 1993. . Vol. 12. Buenos Crítica 15.150-51(1961): . Soundrecord Estudios so September La . - -

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