Astor Piazzolla : Best Musician Of The Tango
Astor Piazzolla, born March 11, 1921 in Mar del Plata and died July 4
, 1992 in Buenos Aires was an Argentine composer and bandoneon. It was the most important musician of the second half of the twentieth century for the tango.
Astor Piazzolla, the son of Italian immigrants, was born in Mar del Plata, 400 kilometers south of Buenos Aires, a fishing port not yet become a resort aristocratic. At the age of three years, he moved with his parents, Vicente Piazzolla and Asunta Manetti for New York and his country of origin is Argentina.
When Astor Piazzolla was eight, his father, a passionate tango, offers him a bandoneon. The child is disappointed, he would have preferred a saxophone for the music his passion was jazz. One day he was playing in the courtyard of his building, Astor discovered Jean-Sebastian Bach: the pianist Bela Wilda former student of Rachmaninoff, who studied nine hours a day. Bach's music Astor so impressed he wants to take courses with Bela Wilda.
In 1936, Piazzolla family returned to Mar Plata. Astor, a teenager does not know what to do with his life. Sometimes he plays the bandoneon, but without conviction, because it does not always interested in tango. A concert violinist Elvino Vardaro with Sexteto tipico in Mar del Plata, changed their minds: Astor discovers a new way of playing is passionate tango. Immediately, he formed his first group, the Cuarteto Azul, copying the style of Elvino Vardaro.
By 1938, seventeen years, he decided to become professional bandoneon and moved to Buenos Aires. For a year, he played in orchestras poor. Every evening, he went to Germinal - the Broadway of Buenos Aires - where the famous bandoneon player Anabal Troilo plays with his Orquesta Tipica. When one falls ill bandoneonists, Astor asks his friend the violinist Hugo Baral, which is part of the orchestra, the maestro of the present. As Astor knows by heart the entire directory, he joined the same evening in the orchestra, one of the best of times. Anabal Troilo sometimes had to reprimand him for it is confined within strict boundaries which were those of the orchestra.
At that time, Argentina is one of the richest countries in the world and people want to forget the misery of the thirties, they want to have fun and go dancing. The ballrooms are increasing, there are thousands of tango orchestras in Buenos Aires and around the country.
Each orchestra has its own style. As in jazz, everyone plays the same songs but with special arrangements. The orchestra of Anibal Troilo uses sophisticated arrangements with a melodic style characterized by the extraordinary play of bandoneonist both soloist and conductor.
Very quickly, Piazzolla began writing arrangements for this orchestra, and composing tangos. But the young bandoneon player is not pleased with their work at night. He wants to be a "real" composer of classical music. He took lessons with the composer Alberto Ginastera and attends every afternoon rehearsals of the Symphony Orchestra of Teatro Colan.
When Piazzolla returned to Buenos Aires in 1957, he created an orchestra with strings, piano and bandoneon. He surrounds himself with the best tango musicians and soloists of the city such Elvino Vardaro, Jaime and Jose Bragato Kids who are important vectors of Piazzolla's music at that time. With this orchestra he shows all his skill in writing for strings. His repertoire includes a half of compositions, including Tango del angel (The Angel of Tango) and Tres minutos con la realidad (Three Minutes with Reality), Buenos Aires Melancolico, lo que sell (which will come), while that He reinterpreted some partitions created by other composers (Sensiblero, fumos the Cachila the Cumparsita).
At the same time, he founded his famous Octet Buenos Aires with Mario Francini, Hugo Barale (violin), Leopoldo Federico (bandoneon), Atilio Stampone (piano), Jose Bragato (cello), Eduardo Vasalo (bass) and Horacio Malvicino (guitar electric). It is composed of young leaders and major orchestras of the period which gives additional legitimacy to the project. Piazzolla introduced the electric guitar, and chorus bebop Malvicino bring a more modern color of the whole. LOcteto Buenos Aires adopts a simple recipe consisting of 50 of traditional tangos (negracha, a fuego lento, los mareados), 25 of compositions by Piazzolla (Tango Ballet brown y azul), 25 of composition of the group ( Cabulero, Tangology, Haydee).
He recorded two LPs and 78s with such training, which are controversial, controversy, and a cataclysmic war between the proponents of tradition and those who claim Piazzolla. Leopoldo Federico remembers the last minute rehearsals planned in secret because the men waiting outside their local break their face [ref. necessary]. He related that some day all the musicians were ready to begin the concert, we were looking everywhere Piazzolla, until time of the riot roared back of the room. Piazzolla was at the heart of the fray. He fought furiously against his detractors.
Locteto was dissolved in 1958, it is not viable and nobody wants to risk their music program. After this experience, Astor Piazzolla relegate the guitar a daccompagnement role in the quintet. By 1958, he went back to New York, he tries to effect a merger between tango and jazz that fails and it strongly criticizes thereafter.
by: Laura Steinfield
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