MARIANO BARREIRO TANGO TRÍO Latin American Romanticism - Tango Composers of Buenos Aires

Total Page:16

File Type:pdf, Size:1020Kb

MARIANO BARREIRO TANGO TRÍO Latin American Romanticism - Tango Composers of Buenos Aires MARIANO BARREIRO TANGO TRÍO Latin American Romanticism - Tango Composers of Buenos Aires Internationally acclaimed ensemble Mariano Barreiro Tango Trío presents the music of Astor Piazzolla and tango composers of Buenos Aires. Tango is a late manifestation of Latin American Romanticism, a profound compositional and cultural style respected by composers and music historians around the world. From its beginning in the early 20th century Buenos Aires, to the genre-breaking mid-century compositions of Astor Piazzolla, tango developed as a truly individual musical style. Sensual, erruptive, even reckless, the music was defined by legendary composers like Piazzolla, Osvaldo Pugliese, and Anibal Troilo, creating an advanced and nuanced expression that made waves around the world. "Pianist Mariano Barreiro dazzles with his interpretations full of passion and energy" Pagina12, Argentina "Barreiro and his trio belong to the new scene of virtuoso musicians of Tango de Buenos Aires" FM Radio Tango, Buenos Aires “High-level improvisation and tango interpretation…" 'Radio FM 2x4, Ayer hoy era mañana Mariano Barreiro Tango Trío presents virtuosic and vibrant tango concerts for chamber music series, jazz venues, music festivals, and university masterclass. ~ 2020-2021 BOOKING NORTH AMERICA/EUROPE ~ BOOKING CONTACT: Mariano Barreiro [email protected] / (562) 324-3840 www.marianobarriero.com MARIANO BARREIRO TANGO TRÍO Latin American Romanticism - Tango Composers of Buenos Aires BIOS Argentine Pianist Mariano Barreiro is one of the foremost new generation tango pianists in tango today. Having performed and recorded with some of the best tango musicians in the world, including Horacio Romo (Leopoldo Federico), Pablo Agri (Piazzolla), Horacio Cabarcos (Anibal Troilo), Juan Villarreal (El Arranque) , and more. His ensembles have been recognized in the United States and Europe on international tours, and have been the featured orchestra for the ATUSA Tango World Championships in San Francisco and the Red Carpet Tango Festival in Las Vegas. Mariano has performed concerts for tango festivals around the world, including highlights at the International Tango Festival of Tallinn Finland, Festival of the Five Continents in Switzerland, Tangopostale Festival in France, and many other in Argentina. __________________ Bandoneonist and leader of the acclaimed bay area sextet Redwood Tango Ensemble, Charles Gorczynski is a tango composer and arranger recognized by his Argentine colleagues as one of the best bandoneonists in the United States. His works have recently premiered with Chamber Music Northwest Summer Festival in Portland and Intermusic SF, where he was twice awarded the MGP grant commissioning new works in the genre. Gorczynski has toured for milongas and concerts in San Francisco, Los Angeles, Montreal, New York, Chicago, Seattle, Rome, Pisa, and worked as touring bandoneonist for Alejandro Ziegler Quartet, Tango BC Trio, San Jose Chamber Orchestra, and California Symphony, and his 2018 album Prizefighter was noted “Best of 2018” from Bandcamp Weekly. __________________ Ishtar Hernandez is an award-winning tango violinist based in San Francisco, a fundamental member of both Mariano Barreiro Tango Trio and of Redwood Tango Ensemble. A rising talent in the west coast tango scene, Hernandez has been lauded for his clear technique, warm tone, and inventive phrasing. Hernandez has studied with iconic tango violinist Ramiro Gallo (founding member of El Arranque), and has toured internationally with the traditional tango ensemble Alejandro Ziegler Quartet. From a strong classical history where he has won concerto competitions and numerous awards, Hernandez has distinguished himself as a singular violinist, and has since performed with Yo-Yo Ma, Paquito D’Rivera, Fred Hersch, Ignacio Varchausky, and many others. www.marianobarriero.com MARIANO BARREIRO TANGO TRÍO Latin American Romanticism - Tango Composers of Buenos Aires QUICK FACT SHEET Performers: Mariano Barreiro - Piano Charles Gorczynski - Bandoneón Ishtar Hernandez - Violin Available for: Chamber Music Series Jazz Series / Club Dates Music Festivals and Tango Festivals Milongas Programs: The Music of Astor Piazzolla - Tango Composers of Buenos Aires Milonguero Tango Requirements: Varying, contact for specifications TECHNICAL REQUIREMENTS Audio Needs All specifications depend on details of the performance. Piano or Keyboard provided (unless local to San Francisco Bay Area) Two direct inputs for AT-350 Mics on Bandoneon (band provided) One direct input for DPA Mic on Violin (band provided) Three independent monitors All requirements are flexible, contact for details. CONTACT / BOOKING Mariano Barriero [email protected] / (562) 324-3840 www.marianobarriero.com MARIANO BARREIRO TANGO TRÍO Latin American Romanticism - Tango Composers of Buenos Aires 2020 SAMPLE PROGRAM Contact directly for specific programs Primavera Porteña - Astor Piazzolla Verano Porteño - Astor Piazzolla Otoño Porteño - Astor Piazzolla Invierno Porteño - Astor Piazzolla La muerte del Angel - Astor Piazzolla Escualo - Astor Piazzolla Adios Nonino - Astor Piazzolla Oblivion - Astor Piazzolla __________ Vida mia - Osvaldo Fresedo A Evaristo Carriego - Osvaldo Pugliese Melancólico - Julián Plaza Redención - Alfredo Gobbi Romance de barrio - Anibal Troilo Che Buenos Aires - Raul Garrello La Beba / La Yumba / Gallo Ciego - Osvaldo Pugliese www.marianobarriero.com .
Recommended publications
  • Betty White Vately on the Ing.” Particular Characteristic: They Are Falsifi- More Than Half a Century Ago, a Inside
    page 2 ..................Opinion page 14................Senior Safety page 4 ..........................Weird News Coming Up! page 15............SRDA Menu page 5..................Health Happy Father’s Day page 16.............Finances page 7...............Social Security & You Congratulations Class of 2008 page 18...............Senior Classifieds page 8............Light for the Journey page 22..............Fremont/Custer Menu SeniorIF YOU ARE 50 OR OLDER YOUBeacon SHOULD READ IT!! SB JUNE, 2008 Vol. 26: No. 11 Established Aug., 1982 311 Consecutive Months! Potpourri Of Subjects To Tickle Your Fancy by James R. Grasso, Publisher, Chief Cook/Bottle Washer for Senior Beacon flexologist extraordinaire comes Yes, those were pictures of my daughter, Robin the following: Lynn you saw in the Pueblo West View and The Pueblo Here is something not Chieftain in late May. She is the same child that many of many of us get to see, unless you prayed for and continue to pray for beginning in early you live near there - Mt. St. Hel- 2000. It has been eight-plus very demanding years for Rob- ens at sunrise. in Lynn and her immediate family as well as our extended Mt. St.. Helens contin- Senior Beacon family. I’ve tried to keep you all updated ues to spew ash, while it is form- over the years while still trying to keep Robin’s privacy intact. ing a lava dome in the crater and Through all of her trials and tribulations she has persevered and flourished. still having minor tremors. My family and I are very proud of her and her many accomplishments, most espe- Here in this sunrise cially finishing as Valedictorian of her class at Pueblo West High School.
    [Show full text]
  • An Anthropological Perspective on Eastern and Western Folk Music
    An Anthropological Perspective on Eastern and Western Folk Music Item Type text; Electronic Thesis Authors Gurczak, Adam Stanley Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 21:02:58 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/625002 AN ANTHROPOLOGICAL PERSPECTIVE ON EASTERN AND WESTERN FOLK MUSIC By ADAM STANLEY GURCZAK ____________________ A Thesis Submitted to The Honors College In Partial Fulfillment of the Bachelors Degree With Honors in Music Performance THE UNIVERSITY OF ARIZONA MAY 2017 Approved by: _________________________ Dr. Philip Alejo Department of Music EASTERN AND WESTERN FOLK MUSIC 1 TABLE OF CONTENTS ABSTRACT 2 ARTIST’S STATEMENT 2 INTRODUCTION 3 ARGENTINE TANGO 4 PRE-TANGO HISTORY: RISE OF THE GAUCHOS 5 A BORDELLO UPBRINGING 5 THE ROOTS AND RHYTHMS OF TANGO 8 A WORLDWIDE SENSATION 9 THE FOREFATHERS OF TANGO 11 CHINESE TRADITIONAL MUSIC 13 THE PHILOSOPHY OF MUSIC 14 INSTRUMENTS OF THE EARTH 16 THE SOUND OF SCHOLARS 18 KOREAN GUGAK 21 GUGAK: A NATIONAL IDENTITY 22 SHAMANS, SINAWI, AND SANJO 24 NOBLE COURTS AND FARMYARDS 28 AMERICAN BLUEGRASS 30 GRASSROOTS, BLUEGRASS, AND BLUES 30 THE POLYNATION OF BLUEGRASS 33 CONCLUSION 36 BIBLIOGRAPHY 37 EASTERN AND WESTERN FOLK MUSIC 2 ABSTRACT The birth of folk music has always depended on the social, political, and cultural conditions of a particular country and its people.
    [Show full text]
  • Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla
    The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2008 Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective Alejandro Marcelo Drago University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Latin American Languages and Societies Commons, Musicology Commons, and the Music Performance Commons Recommended Citation Drago, Alejandro Marcelo, "Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective" (2008). Dissertations. 1107. https://aquila.usm.edu/dissertations/1107 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: May 2008 COPYRIGHT BY ALEJANDRO MARCELO DRAGO 2008 The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago Abstract of a Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2008 ABSTRACT INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA.
    [Show full text]
  • Tango for Musicians at Reed College, June 19-26, 2016 Monday 20 Tuesday 21 Wednesday 22 Thursday 23 Friday 24
    Tango for Musicians at Reed College, June 19-26, 2016 Monday 20 Tuesday 21 Wednesday 22 Thursday 23 Friday 24 8:00 to 9:00 am breakfast breakfast breakfast breakfast breakfast 9:00 to 11:00 am strings . group a . ramiro gallo | PAB 105 | strings . group a strings . group a strings . group a Instrumental techniques strings . group b . ramiro gallo | PAB 104 | strings . group b strings . group b strings . group b References Classes will be divided into woodwinds . group a . paulina fain | PAB 231 | woodwinds . group a woodwinds . group a woodwinds . group a smaller groups in order to facilitate student learning. woodwinds . group b . paulina fain | PAB 233 | woodwinds . group b woodwinds . group b woodwinds . group b arranging vocals . sofía tosello | PAB 332 | vocals vocals vocals advanced arranging and composition bandoneon . group a . eva wolff | PAB 131 | bandoneon . group a bandoneon . group a bandoneon . group a parrilla (tango improvisation) bandoneon . group b . eva wolff | PAB 130 | bandoneon . group b bandoneon . group b bandoneon . group b specialized skills piano . group a . hernán possetti | PAB 232 | piano . group a piano . group a piano . group a history of tango piano . group b . hernán possetti | PAB 234 | piano . group b piano . group b piano . group b tango styles fundamentals guitar . group a . adam tully | PAB 223 | guitar . group a guitar . group a guitar . group a pedagogy guitar . group b . adam tully | PAB 222 | guitar . group b guitar . group b guitar . group b bass . group a . ignacio varchausky | PAB 320 | bass . group a bass . group a bass . group a classes open to auditors bass . group b .
    [Show full text]
  • TANGO… the Perfect Vehicle the Dialogues and Sociocultural Circumstances Informing the Emergence and Evolution of Tango Expressions in Paris Since the Late 1970S
    TANGO… The Perfect Vehicle The dialogues and sociocultural circumstances informing the emergence and evolution of tango expressions in Paris since the late 1970s. Alberto Munarriz A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO March 2015 © Alberto Munarriz, 2015 i Abstract This dissertation examines the various dialogues that have shaped the evolution of contemporary tango variants in Paris since the late 1970s. I focus primarily on the work of a number of Argentine composers who went into political exile in the late 1970s and who continue to live abroad. Drawing on the ideas of Russian linguist Mikhail Bakhtin (concepts of dialogic relationships and polyvocality), I explore the creative mechanisms that allowed these and other artists to engage with a multiplicity of seemingly irreconcilable idioms within the framing concept of tango in order to accommodate their own musical needs and inquietudes. In addition, based on fieldwork conducted in Basel, Berlin, Buenos Aires, Gerona, Paris, and Rotterdam, I examine the mechanism through which musicians (some experienced tango players with longstanding ties with the genre, others young performers who have only recently fully embraced tango) engage with these new forms in order to revisit, create or reconstruct a sense of personal or communal identity through their performances and compositions. I argue that these novel expressions are recognized as tango not because of their melodies, harmonies or rhythmic patterns, but because of the ways these features are “musicalized” by the performers. I also argue that it is due to both the musical heterogeneity that shaped early tango expressions in Argentina and the primacy of performance practices in shaping the genre’s sound that contemporary artists have been able to approach tango as a vehicle capable of accommodating the new musical identities resulting from their socially diverse and diasporic realities.
    [Show full text]
  • ¡Che, Bandoneón! Por Lydia Orsi
    ¡Che, Bandoneón! Por Lydia Orsi (Tu canto...) esas ganas tremendas de llorar que a veces nos inundan sin razón y el trago de licor que obliga a recordar si el alma está en ‘orsay’, che, bandoneón Homero Manzi En el año 2000, la Legislatura de la Ciudad Autónoma de Buenos Aires, por Ley 366, instituyó el 11 de julio como «Día del Bandonéon» Juan Carlos Liberti: «Tango» No al azar es también el natalicio de Pardo”, cochero de oficio, (sus En la Boca, los Santa Cruz no Aníbal Troilo, uno de sus más fieles antepasados habían sido esclavos de la estuvieron solos, los bandoneonistas de cultores, ya que el Bandoneón, en el Río familia del mismo nombre). la Guardia Vieja hacían oír sus de la Plata tiene una rica historia de “Entonces, el Pardo Sebastián Ramos compases. Centrémonos en la “esquina intérpretes y de interpretaciones. era primer bandoneón ciudadano y del pecado”: Arturo Berstein (el Según una versión de la historia, este cochero de tranvías a caballos de la alemán), asombrando al malevaje al instrumento llegó a Buenos Aires en compañía Buenos Aires - Belgrano”. incorporar sus partituras. El Tano 1866. Los hermanos Juan y Domingo Santa Genaro (alumno de Ramos Mejía), junto Habría surgido de un músico alemán, Cruz (descendientes de esclavos al piano de Agustín Bardi, Juan Maglio Alejandro Band, cerca de 1835, en la libertos), propagaron su técnica, (Pacho), admirado también en Palermo ciudad de Krefeld, con fines litúrgicos Domingo es el autor de un testimonial ( CAFÉ LA PALOMA Y EL ya que acompañaba en la calle cánticos tango, allá, en 1904: “Unión Cívica” PABELLÓN DE LAS ROSAS) de de los fieles, por eso fue llamado por el incipiente partido al que quien nos dice Cadícamo: «órgano a bretel».
    [Show full text]
  • El Cooperativismo En El Tango: Nuevas Formas De Organización
    Revista Idelcoop - Año 2010 - Volumen 37 - N° 201 el cooperativismo en el tango: nuevas formas de organización Hernán Lucero El presente artículo fue elaborado por Hernán Lucero, un reconoci- do cantante de tango, en base a entrevistas realizadas a referentes del género y de la nueva escena musical. El objetivo es mostrar algunas de las nuevas vinculaciones entre el tango y las formas de organización cooperativa, que reconocen a la orquesta de Osvaldo Pugliese como un precedente fundamental. Hernán Lucero tiene un disco solista y además es cantante de Bardos Cadeneros, que recientemente ha sacado un nuevo CD, “Las líneas de tu mano”, el primer trabajo con canciones propias, tres de ellas compuestas con el dibujante Juan Matías Loiseau, más conocido como Tute. La Orquesta Astillero y la Orquesta Típica Ciudad Baigón en el Centro de Desarrollo del Tango1. El Modelo de la Orquesta de Osvaldo Pugliese. La experiencia de Víctor Lavallén Hacia los primeros años de la década del noventa el tango era una música antigua, del pasado. Poco se sabía de nuevas producciones, de estéticas reno- vadoras. Los años de dictadura militar profundizaron la abulia de un género que se tornaba cada vez más una caricatura de sí mismo, se refugiaba en el concepto camarístico de los músicos más osados o quedaba destinado al con- sumo de los turistas. Sin embargo, una joven camada de músicos, que dejaba (1) Entrevista realizada el 16/6/10 en el Teatro Orlando Goñi, Cochabamba 2536. 404 - ExperienciasTeoría y Práctica Cooperativas de la Cooperación 201W.indd 404 17/01/2011 21:11:11 la adolescencia en tiempos de flexibilización laboral, de ausencia del Estado, de “modernización del país”, empezaba a producir un hecho artístico nuevo.
    [Show full text]
  • Osvaldo Pugliese
    PUGLIESE ANTIMUFA DOSSIER HOMENAJE A 25 AÑOS DE SU PARTIDA OSVALDO PUGLIESE TANGO Y COMUNISMO EN EL RÍO DE LA PLATA A 25 años de la partida de Osvaldo Pugliese, desde Revista Ignorantes (Red Editorial) y el colectivo de comunicación Contrahegemonía (www.contrahegemoniaweb.com.ar)presen- tamos un dossier homenaje al maestro compuesto por artículos, videos y fotografías para volver a entrar en relación con una de las figuras más queridas del cancionero popular. El 25 de julio de 1995 el maestro Pugliese falleció a los 89 años de edad después de una inmensa carrera que lo ubicó junto a artistas de la talla de Carlos Gardel, Roberto Goye- neche y Astor Piazolla, entre otros, pero sobre todo, su carisma, su talento y su humildad socialista lo convirtió en una de las figuras más queridas de la cultura popular tanto para el público como para los músicos. Osvaldo Pedro Pugliese nació el 2 de diciembre de 1905 en el barrio porteño de Villa Crespo. Hombre riguroso y disciplinado en el arte, se destacó como pianista, director, compositor y arreglador de obras fundamentales. Debutó como pianista a los 14 años de edad en el café La Chancha (hoy Av. Córdoba y Godoy Cruz), tocó el piano en la orquesta de Paquita Bernard la primera mujer bandoneonista, y a los 19 años compuso “Recuerdo”, una de sus canciones más importantes. Fue el creador y director de una orquesta con un estilo único en el género que se impuso en los boliches. Desde las milongas porteñas a los teatros del interior, pasando por los clubes de barrio del conurbano bonaerense, el maestro Pugliese construyó lazos en las capas populares, colaboró en las lógicas cooperativas y cosechó “fieles” que lo seguían en cada una de sus actuaciones para sacarle filo al zapato en las pistas de baile.
    [Show full text]
  • Are Buenos Aires’ Most Gay-Friendly Districts
    EYEWITNESS TRAVEL TOP10 BUENOS AIRES 3( 0 / ' 3LD]]ROOD %DQFR 2 $ $'(52 $/ 7DQJR +LSRWHFDULR &$/ 3(// (5 10 1DFLRQDO /D&DWHGUDO $95 Great tango clubs & dance halls (60 0HWURSROLWDQD ([HGLILFLR %DQFRGHOD & &$//(68 /D3UHQVD &$//( 3DODFLR 1DFLµQ $ 10 &DI« ' 9HUD $BUFESBM , 7RUWRQL 0LAZAŽDE % Best restaurants in each area &DVD 1BSRVF 1FSÞ 5 !VENIDAŽDEŽ-AYO -AYO 5RVDGD $PMØO 10 "WEF 1JFESBT $ (O&DELOGR $9,1 / Unmissable museums & galleries .BZP (GLILFLR 9 'UDEEOH 1MB[B $ .BZP #PMJWBS 0LQLVWHULRGH 10 &$//($$/6,1$ (FRQRPLD * Liveliest bars & clubs 0DQ]DQDGH 0XVHRGH +8( OD&LXGDG ODV/XFHV $/&$5&( 10 7$&8$5 %2/9$5 % &$ &$//( 025(12 Most impressive buildings 10 Historic plazas & green spaces 10 Artisan shops & best boutiques 10 Best hotels for every budget 10 Fun activities for children 1010 Insider tips for every reader YOUR GUIDE TO THE 10 BEST OF EVERYTHING TOP 10 BUENOS AIRES DECLAN MCGARVEY JONATHAN SCHULTZ EYEWITNESS TRAVEL Left Tango show Center Painting at Kelly’s shop Right Cementerio de la Recoleta Contents Contents Buenos Aires’ Top 10 Design, Editorial, and Picture Research, by Buenos Aires’ Highlights 6 Quadrum Solutions, Krishnamai, 33B, Sir Pochkanwala Road, Worli, Mumbai, India Reproduced by Colourscan, Singapore Plaza de Mayo 8 Printed and bound in China by Leo Paper Products Ltd First American Edition, 2009 Cementerio de la 10 9 8 7 6 5 4 3 Published in the United States by Recoleta 10 DK Publishing, Inc., 375 Hudson Street, New York, New York 10014 Copyright 2009 © Dorling Kindersley Limited, Teatro Colón 12 London, A Penguin Company All rights reserved under International and Pan- American Copyright Conventions.
    [Show full text]
  • 1.1 Osvaldo Pugliese - Introduction
    Cover Page The handle http://hdl.handle.net/1887/30110 holds various files of this Leiden University dissertation Author: Varassi Pega, Bárbara Title: Creating and re-creating tangos : artistic processes and innovations in music by Pugliese, Salgán, Piazzolla and Beytelmann Issue Date: 2014-12-11 1.1 Osvaldo Pugliese - Introduction Pianist, composer, arranger and conductor (1905–1995) Osvaldo Pugliese received his first musical education from his father, an amateur flautist who played in amateur tango quartets. He first learnt violin, like his brothers, and then studied piano in local music conservatories. As a teenager, his music accompanied silent films, his professional career beginning in a bar called “Café de la Chancha”.64 Later, he worked as a replacement musician in a number of dance orchestras and then joined the ensemble led by legendary Paquita Bernardo65, where he met violinist Elvino Vardaro, with whom he would later form the Vardaro-Pugliese sextet in 1929. The ensemble was disbanded due to lack of commercial success, but was reformed with a new line-up in 1930, including such luminaries as Alfredo Gobbi on second violin, and with Aníbal Troilo and Ciriaco Ortiz on bandoneon. By the time Pugliese assembled his own orchestra in 1939, he was already a professional pianist of renown who had collaborated with the most outstanding figures and ensembles of the time: Enrique Pollet’s66 sextet, and the orchestras conducted by Pedro Laurenz67, Miguel Caló68 and Pedro Maffia69. He produced his most refined works with his orquesta típica, to which he was devoted exclusively until he died. We will give special attention to this ensemble.
    [Show full text]
  • Thesis – the Piano, and the Essence of Tango
    Tango, from Perception to Creation: A pianist’s quest to capture and embody Tango in performance and composition. Kim Cécile Elton B Mus. Queensland Conservatorium Arts, Education and Law Griffith University Submitted in fulfilment of the requirements for the degree of Doctor of Musical Arts February 2014 2 I declare that the exegesis and portfolio are my own work and has not been submitted previously for a degree or diploma to any university. To the best of my knowledge I believe it does not contain any material previously published, written or composed by another person except where I have made direct reference to an author in the exegesis itself. Kim Cécile Elton, February 2014 3 Exegesis Table of Contents Acknowledgments…………………………………………………………………………………………14 Autography/Glossary…………………………………………………………………………………….15 Abstract………………………………………………………………………………………………………...16 Introduction Prelude…………………………………………………………………………………....................17 My life as a pianist……………………………………………………………...........................20 Theory and Method……………………………………………………………….....................23 Scope and Limitations………………………………………….............................................28 Chapter summary………………………………………………………………….....................30 Chapter 1. Literature review……………………………………………….........................31 Chapter summary………………………………………………………………………..............42 Chapter 2. Perception of Paradigms in Pianism Origins of Tango…………………………………………………………………………………..43 The Arrangement Tradition………………………………………………………...............44 Distinctive Technical and
    [Show full text]
  • Tangueros Del Sur Press
    PRESS KIT “Tango, at its truest” - The New York Times Natalia Hills Artistic Director & Choreographer Tango dancer and choreographer Natalia Hills comes from three generations of Tango dancers. Hills made her theatrical debut at the young age of 12 in the historic Corrientes theater district in Buenos Aires performing alongside Tango legends: dancer and choreographer Juan Carlos Copes, vocalist Roberto Goyeneche and Atilio Stampone (composer, pianist). Hills later went on to perform as one of the original members of the Broadway and London hit, Forever Tango which was nominated for a Tony and Drama Desk awards for best choreography. In 1995, after a successful theater season in London’s West End, she was invited to perform at a British Embassy event in honor of Princess Diana Spencer. Over the course of her career, Hills has danced in the most prestigious theaters in the world: the Colón Theater in Buenos Aires, the Hollywood Bowl as a primary dancer accompanied by the Los Angeles Philharmonic, and in the Walter Kerr, Marquis, and Shubert Theaters on Broadway. Television appearances include NBC’s Today Show, Evening at the Pops on PBS featuring the Boston Pops and hosted by Leslie Caron, and on the National Geographic channel among others. Founding her company in 2009, Tangueros del Sur made its US premiere at New York City Center that same year. The company has also performed at Vail International Dance Festival (2010), Jacob's Pillow Dance at Ted Shawn Theater (2011) and at the Israel Dance Festival in Jerusalem (2012). After four years, the company reprised the show "Romper el Piso" (Break the Floor) in August 2016 in the prestigious "Maipo" Theater of Buenos Aires.
    [Show full text]