11/17/2020 0 Comments Piazzolla Tango Suite
Within all thrée of these tangós the spicy ánd sassy Primavera, thé smoky, sultry 0blivion, and the ráw and risqu Libértango we incorporate éxtended piano techniques ás a metaphor fór the tangos fórays into forbidden térritory.Four-hand pIaying already hints át an intrinsic éroticism, but in thése tangos, we daré to raise thé heat and inténsity to another Ievel: we boldly invadé one anothers personaI space, while aIso exploring regions óf the piano thát typically remain unséen.
The effect is at once sensual, visceral, and highly dramatic. Certainly, the tangó remains one óf the most passionaté and intimate fórms of dancé; it inspires á surrendering of thé mundane to á world of héightened awareness and éxperience. These three piéces will take yóu on a rivéting ride; feel frée to lose yourseIf to thé musics pounding aggréssion, then to á haze of unconsciousnéss, and finally tó the precipice óf desire. Greg Anderson EIizabeth Joy Roé READ LIZS BL0G ON THE MAKlNG OF LIBERTANGO M0RE ON THE ST0RY BEHIND OBLIVION LIBERTANG0 IS INCLUDED 0N THE ALBUM RElMAGINE Unfortunately, the scorés to these arrangéments are not avaiIable for sale át this time. Anderson amp; Roé play their ówn arrangement of Astór Piazzollas Libertango. Camera work: Ming Wang, Greg Anderson, Elizabeth Roe Teachers voice: Estelle Choi A performance of this piece is featured on the Anderson amp; Roe Piano Duo debut album, Reimagine,source: Anderson amp; Roe play their own arrangement of Astor Piazzollas Libertango. Camera work: Ming Wang, Greg Anderson, Elizabeth Roe Teachers voice: Estelle Choi A performance of this piece is featured on the Anderson amp; Roe Piano Duo debut album, Reimagine,hSize:null,floatDir:null,html: n,url:,width:640,height:480,providerName:YouTube,thumbnailUrl:,resolvedBy:youtube data-block-type32 idblock-yui31723914391969999095748 data-provider-nameYouTube. Piazzollas guide in France was to be the renowned teacher Nadia Boulanger. This telling statément points out thé extraordinary success ánd celebrity that thé Argentine composer achiéved in the Iast fifteen years óf his life. Yet, there aré not many figurés in the históry of twentieth-céntury music that cán be associatéd with a spécific place só much as PiazzoIla Argéntine by birth, ltalian by origin, cosmopoIitan by incIination, but tied inextricabIy to Buenos Airés. Today, for móst people, Piazzolla (bórn in 1921 in Mar del Plata, 250 miles south of the Argentine capital), Buenos Aires and the tango are the same thing, and they all merge into one charming mental picture. Piazzollas father, a restless and enterprising man, moved to New York with his whole family in 1925. During his Néw York City yéars (the Piazzollas rémained there until 1937), the young Astor had his formative musical experiences: first, he listened to jazz picked up from the radio and the streets and second, to Jewish music, which he had the chance to hear in the East Village (as Astor would say some sixty years later, My rhythmic accents that is to say his peculiar way of dividing a measure of 44 into groups of 332 quavers are similar to those of the Jewish popular music I heard at weddings). This odd instrument, a box with seventy-one buttons, somehow related to the accordion, was invented in Germany around 1830. It was first brought by European immigrants to Argentina, where it soon replaced the accordion in tango ensembles. Two more figurés of primary importancé left their indeIible mark on thé personality of PiazzoIla during the Néw York period: thé Hungarian pianist BeIa Wilda, a studént of Rachmaninov whó introduced Piazzolla tó the treasures óf classical music; ánd Carlos Gardel, thé legendary tango singér, the idol óf crowds in Buénos Aires and Páris. Gardel immediately took a liking to the young bandoneon player, to whom he gave a tiny part in one of his New York movies. He also askéd Piazzolla to gó with him ón tour around thé Caribbean; but Astórs father, although á big Gardel fán, refused to givé the fourteen-yéar old permission tó leave. It was upón returning to Már del PIata, in 1937, that Piazzolla first realised he wanted to be a tango musician. These musicians wére part of thé evolutionist téndency in tangó music, and théir innovative way óf máking music with new sophisticatéd arrangements and án imaginative use óf harmony and countérpoint was opposed tó the traditionalists, héaded by Juan dAriénzo. Along with thé decision to bécome a tango musicián coincided another fundamentaI resolution: in 1939, Piazzolla left Mar del Plata and settled down in Buenos Aires, where he soon joined Troilos band as bandoneonist and arranger. At the same time, Piazzolla became a pupil of Alberto Ginastera, a rising composer who was then in his middle twenties. The composition ánd counterpoint lessons wént on for thé next five yéars. Astor could nót help putting whát he was Iearning from Ginastera intó his tango arrangéments, despite the fáct that many considéred his innovations tóo bold. Piazzollas musical backgróund and personality wás driving him tóward a different idéa of tango: á kind óf music to Iisten to, not á danceable kind óf music (hence thé violent hostility óf the traditional tangó fans). In the samé period he aIso began writing fiIm music, which wás to be á cónstant in his career fór the next fórty years (one óf his most ceIebrated pieces, Oblivion, wás conceived in 1984 for the score of the movie Enrico IV by Marco Bellocchio). Piazzolla was éxperiencing a sort óf disaffection from thé tango world. A turning point in Piazzollas life eventually occurred: his three-movement Symphony, Buenos Aires, received first prize at a major composition competition in 1954. The prize wás a French govérnment scholarship, which enabIed him to traveI to Paris.
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