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QUINTETO ASTOR PIAZZOLA En 3X4 Sun, Nov 1 at 3PM PST Prerecorded in Buenos Aires for CAP UCLA ART MATTERS NOW MORE THAN EVER

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QUINTETO ASTOR PIAZZOLA En 3X4 Sun, Nov 1 at 3PM PST Prerecorded in Buenos Aires for CAP UCLA ART MATTERS NOW MORE THAN EVER QUINTETO ASTOR PIAZZOLA En 3x4 Sun, Nov 1 at 3PM PST Prerecorded in Buenos Aires for CAP UCLA ART MATTERS NOW MORE THAN EVER WELCOME TO UCLA’S CENTER FOR THE ART OF PERFORMANCE UCLA’s Center for the Art of Performance (CAP UCLA) is the public facing research and presenting organization for the performing arts at the University of California, Los Angeles—one of the world’s leading public research universities. We are housed within the UCLA School of the Arts & Architecture along with the Hammer and Fowler museums. The central pursuit of our work as an organization is to sustain the diversity of contemporary performing artists while celebrating their contributions to culture. We acknowledge, amplify and support artists through major presentations, commissions and creative development initiatives. Our programs offer audiences a direct connection to the ideas, perspectives and concerns of living artists. Through the lens of dance, theater, music, literary arts, digital media arts and collaborative disciplines, informed by diverse racial and cultural backgrounds, artists and audiences come together in our theaters and public spaces to explore new ways of seeing that expands our understanding of the world we live in now. cap.ucla.edu #CAPUCLA CAP UCLA Presents QUINTETO ASTOR PIAZZOLA En 3x4 Sun, Nov 1 at 3PM PST Prerecorded in Buenos Aires for CAP UCLA Approximate run time: 60 minutes, no intermission Funds provided by the Merle & Peter Mullin Endowment for the Performing Arts. MESSAGE FROM THE CENTER For many, the name Astor Piazzolla is synonymous with the tango. An incomparable master of the bandoneon, a large button accordion noted for its unwieldly size and difficult fingering system, Piazzolla revolutionized the tango, transforming this earthy, sensual, even disreputable folk music into a sophisticated form of high art and elevating it from the dance halls onto the concert stage. A virtuosic performer with a near-unparalleled mastery of the bandoneon, he was also an adventurous composer, whose first loves were jazz and J.S. Bach. The son of Argentine immigrants, Piazzola grew up in New York’s Little Italy, listening to his father’s tango records, He first learned to play the bandoneon, after spotting it in a pawn shop, to soothe his father’s home sickness. In 1938, after his family moved back to Argentina, Piazzolla, at age 17, moved to Buenos Aires and performed professionally with a variety of local tango orchestras. In 1941 he began studying with Alberto Ginastera, a highly-regarded Argentine composer of classical music, and eventually formed his own tango orchestra. In 1954, Piazzolla won a musical competition for one of his compositions and was awarded a grant from the French government to study with the legendary Nadia Boulanger in Paris. Originally intending to pursue a career in classical music composition, he was encouraged by Boulanger to “modernize” the tango, as this was clearly where his talent layed. This proved to be a historic encounter and a seminal moment in Piazzolla’s career. Borrowing from jazz and classical musical forms, Piazzolla created an entirely new harmonic and rhythmic vocabulary dubbed nuevo tango. His first quintet, formed in 1960, caused a sensation among the youth of his native Argentina, similar to that of the bossa nova in Brazil. While it garnered him enormous international popularity and acclaim, tango adherents didn’t welcome his experimentation with the emblem of Argentine culture — death threats were not uncommon! Piazzolla’s music was eventually embraced by his countrymen and he remained tango’s foremost emissary to the world until his death in 1992. He continued to experiment with the form throughout his lifetime, recording with a wide array of musicians including Gerry Mulligan, Gary Burton, the New York Philharmonic and Kronos Quartet. The current quintet of five virtuoso soloists has traveled the world for more than 20 years, sharing his music with a new generation and bringing a sense of newness and freshness to Piazzolla’s unique sound. Kathy Budas Director of Marketing & Communications ABOUT THE PROGRAM En 3x4 Verano Porteño Tres minutos con la realidad Camorra III En 3x4 Concierto para quinteto Bragatissimo Michelangelo 70 Biyuya Milonga del Ángel Adiós Nonino La Muerte del Ángel Libertango Musicians Production Pablo Mainetti Julian Vat Bandoneón Musical Director Serdar Geldymuradov Laura Escalada Piazzolla Violin General Director Nicolás Guershberg Dario Vaccaro Piano Production Daniel Falasca E54Music Double bass Label Armando de la Vega Guitar ABOUT THE ARTISTS In 1960, bandoneonist and composer Astor Piazzolla looked for a new instrument to interpret his ideas and put together his first great quintet. It was an unusual group, especially for tango, as it featured bandoneón, violin, electric guitar, piano, and double bass. Part chamber group, part jazz band, but deeply rooted in the spirit and history of tango, the quintet offered Piazzolla a broad range of resources and possibilities that proved critical for his New Tango. A decade later, Piazzolla, always restless and attuned to the musical trends of the time, dissolved the quintet, experimented with other ensembles, and decided to settle for a time in Europe. But in 1978, back in Buenos Aires, he went back to the sound of the quintet, assembling a new group that would stay with him for the next decade. It was a superb group that performed his, by now, classics, and pushed him to create new masterpieces. Piazzolla’s death, on July 4, 1992, marked a new stage for his work. From then on, others would have to continue his efforts and champion his music. With that purpose, Laura Escalada Piazzolla, his companion of nearly 20 years, created the Fundación Astor Piazzolla and, in 1998, founded the Quinteto Astor Piazzolla, a repertory group to perform and update the sound of his emblematic ensemble. Creating an ensemble to play Piazzolla is no easy task. Instrumental virtuosity is indispensable — but not enough. This music also demands street wisdom, boldness, and a certain quality that the maestro called “roña” (grime) — the perfection of the imperfect. Piazzolla thought of his quintet as a group of soloists and consistently chose musicians who were not only notable interpreters but also brought to his work different temperaments and musical experiences that he knew would enrich the music on the page. That’s the spirit of Quinteto Astor Piazzolla — Pablo Mainetti, bandoneón; Nicolás Guerschberg, piano; Serdar Geldymuradov, violin; Armando de La Vega, guitar; Daniel Falasca, double bass; and Julián Vat, musical director — an ensemble of soloists putting their impeccable technique at the service of a music both cosmopolitan and passionate. Mainetti was educated in tango by great masters of the bandoneón and has recorded Piazzolla’s orchestral works as soloist. But he is also a composer of symphonic and chamber music. Nicolás Guerschberg has not only studied and played with musicians in the Piazzolla lineage, such as the pianist and composer Gerardo Gandini, violinist Fernando Suárez Paz and drummer Daniel “Pipi” Piazzolla, grandson of the maestro but also has moved with ease between tango and jazz. Turkish violinist Serdar Geldymuradov, educated in conservatories back home and Russia, found his way into tango and continues the tradition of classically trained violinists in Piazzolla’s quintet, such as the great Szymsia Bajour. Guitarist Armando De La Vega has played with leading figures in contemporary tango, interpreted Piazzolla’s music in a great variety of settings, and was a member of the group led by Pablo Ziegler, the great pianist of Piazzolla’s second quintet. Meanwhile, double bassist Daniel Falasca, a musician with a rich classical and tango education, holds a key position in any Piazzolla quintet, anchoring and pushing the music. Flutist and composer Julian Vat, invited by Laura Escalada Piazzolla to join as musical director, knows Piazzolla’s music intimately, as a producer, musical director, and interpreter. In a career spanning more than twenty years, the Quinteto Astor Piazzolla has toured the United States, Latin America, Europe, and Asia, receiving unanimous praise by the press and the Latin GRAMMY© for Best Tango Recording in 2019. In the words of Laura Escalada Piazzolla: “The best way to pay tribute to a creator is to play his music. The Quinteto Astor Piazzolla keeps Astor’s legacy alive.” DIGITAL PROGRAMMING FOR DIGITAL AUDIENCES Three ways to enjoy our programs and connect with us: 1. Watch our free Fall online programs and performances. 2. Become a Member: Join a community, enjoy free access to all of our digital programming, priority access to tickets for live and more. 3. Become a Monthly Subscriber: A digital subscription that provides access to all of our online programs plus invitations to select special events for one low monthly price. Learn more at cap.ucla.edu/CAPConnect 2020-21 Season FAQ Support CAP UCLA CAP UCLA Membership Art in Action Design for Sharing Artist Commissions Creative Development Initiatives Executive Producer Council CAP UCLA Staff Listing CAP UCLA LEAD SUPPORTERS UCLA’s Center for the Art Roslyn Holt Swartz & Carolyn & Lester Stein of Performance gratefully Allan J. Swartz Carol & Joseph Sullivan acknowledges our donors, Joseph Walker Douglas Upshaw sponsors and members whose Leslie White & Al Limon Debra Vilinsky & Michael Sopher gifts directly support the art of Bonnie & Paul Yaeger/ performance and arts education at UCLA. Thank you! $5,000 - $9,999 Yaeger Family Foundation
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