Classical

Amelita Baltar - Interpreta a Astor Piazzolla y Horacio Ferrer (1970)

2014-03-26T17:51:25Z

Amelita Baltar - Interpreta a Astor Piazzolla y Horacio Ferrer (1970)


1. Preludio Para el Año 3001
2. Preludio Para la Cruz del Sur
3. Preludio Para un Canillita
4. Balada Para un Loco
5. Balada Para Mí Muerte
6. Balada Para El
7. Chiquilín de Bachín
8. Balada Para un Loco
9. Chiquilín de Bachín

In 1967, Piazzolla struck a deal with poet Horacio Ferrer to collaborate exclusively with each other, resulting in the groundbreaking so-called "operita" Maria de Buenos Aires, which was premiered by singer Amelita Baltar in 1968 (she would later become Piazzolla's second wife). Piazzolla and Ferrer next collaborated on a series of "tango-canciones" (tango songs) which produced his first genuine commercial hit, "Balada Para un Loco" ("Ballad of a Madman"). In addition to composing songs and more elaborate pieces for orchestra (such as 1970's El Pueblo Joven), Piazzolla also flexed his muscles scoring numerous films of the period. --- itunes.apple.com

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Astor Piazzola - Tangazo (Dutoit) [2001]

2010-09-18T16:49:44Z

Astor Piazzola - Tangazo (Dutoit) [2001]


1. Adíos Nonino (Tango Rapsodia)
2. Milonga del Angel	
3. Double Concerto for Bandoneon & Guitar - 1. Introduction
4. Double Concerto for Bandoneon & Guitar - 2. Milonga	
5. Double Concerto for Bandoneon & Guitar - 3. Tango
6. Oblivion          play
7. Tres movimientos tanguisticos portenos - 1. Allegretto	
8. Tres movimientos tanguisticos portenos - 2. Moderato	
9. Tres movimientos tanguisticos portenos - 3. Vivace
10. Danza Criolla	 play
11. Tangazo

Orchestre Symphonique de Montreal
Daniel Binelli (Bandoneon)
Louise Pellerin (Oboe)
Charles Dutoit – conductor

That said the music begins unforgettably with Piazzolla’s most widely known and triumphant piece, Adios Nonino, a tribute to his father. The 1981 orchestration opens with some all-purpose abrasion, percussive clatter, staccato piano (much employed in the orchestral texture here and elsewhere) before opening out into a tune of decisive beauty and tranquillity. Milonga del angel is evocative but essentially filmic. The move from a winsome introduction to a more harmonically animated and austere middle section is certainly welcome but the Francophile leanings of the composer are always present (the fact that he studied, briefly I believe, with Boulanger is probably irrelevant here) inasmuch as the lyric impulse is towards the status of a glorified chanson. The three movement Double Concerto was premiered by the composer himself in 1985.

The fusion of bandoneon – the mid nineteenth century German square button accordion – and guitar is effective; the first movement is withdrawn, the second rather frisky and the finale has a nice passage for solo violin with momentum increasing to the conclusion but the thematic material itself is threadbare and the whole piece lacks any kind of direction or distinction. Oblivion derives from a film score and features a winding oboe figure and bandoneon quasi-extemporisation – attractive in its way but slight. The Tres movimientos tanguisticos portenos are of a more rewarding stamp.

There is some surprisingly fluent writing here from woodwind, excellently taken runs from the Montreal players, intriguingly apposite textures (brass, tambourine, percussive piano writing) and jaunty rhythms. The central movement however bursts into what sounds like some Turkish belly dancing music, an exoticism too far for me, in the context. Nevertheless there is some heady and surging music in the piece, and the focus of the disc as regards sheer compositional craft as well as being of itself evocative both in texture and in mood. Danza criolla is propulsive and colourful and replete with drum splashes, brass interjections and piano outbursts. Tangazo, premiered in 1970 and sans bandoneon, is a fourteen-minute single movement piece that embraces a range of moods and rhythms; I can’t say I found it structurally convincing but it is certainly colourful.

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Astor Piazzola – Ballet Tango (1992)

2010-02-28T18:32:14Z

Astor Piazzola – Ballet Tango (1992)


1  Adios Nonino  
2  Oblivion 	
3  Chiquilin de Bachin 
4  Pedro y pedro 
5  Ballet Tango 
6  Leijia's Game 
7  Flora's Game 
8  Sunny's Game

Richard Galliano – accordion, bandoneon

One day Richard Galliano chanced upon his own destiny. " Some years ago seeing me looking preoccupied, Astor Piazzolla suddenly said to me " your image as a jazz accordionist is far too Americanised. It's no good at all. Rediscover your French roots. You need to take up the new musette, just as I invented the tango nuevo ".

The revelation hit him instantly, like a bolt out of the blue. A sudden invitation to turn back the clock and start all over again. Richard Galliano quickly returned to his work with renewed vigour. " Musette ? It wasn't an easy label to go along with. This genre of music was backward-looking, out-dated. It was as if you were to play the accordion in the style of the 1930's, as if Charlie Parker, John Coltrane and Jimi Hendrix never existed. "

Deeply unsettled by what Piazzolla had told him to do, Galliano then decided to take action. To dive straight in and shelve the wonderful diversification and versatility which was his hallmark up to then, to passionately and patiently piece together the complicated puzzle made up of all his greatest influences. Why ? To finally take his instrument, which had been much maligned and condemned by many as old hat, on a journey to scale new heights : " the new musette ". Basically : "the sum total of all my past experiences, the idea of jazz from the heart, and influences from close to home (I live in Paris) and from my Italian roots. But I refused to define my project any further - I hadn't freed the accordion from one ghetto only to imprison it firmly in another. "

This is the true Galliano, pioneer of new sounds, a musician proud of his individuality who with his instrument creates a world of music through sensual poetry, ethereal lyricism and natural swing. ---mymusicbase.ru

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Astor Piazzolla & Gerry Mulligan – Tango Nuevo (1975)

2009-10-20T20:29:26Z

Astor Piazzolla & Gerry Mulligan – Tango Nuevo (1975)


A1  20 Years Ago (6:26)
A2 	Close Your Eyes And Listen (4:32)
A3 	Years Of Solitude (4:07)
A4 	Deus Xango (3:45)
B1 	20 Years After (4:10)
B2 	Aire De Buenos Aires (4:37)
B3 	Reminiscence (6:30)
B4 	Summit (3:35)

Bandoneon - Astor Piazzolla
Bass - Guiseppe Prestipino
Cello - Ennio Miori
Drums, Percussion - Tullio De Piscopo
Electric Guitar - Bruno De Filippi, Filippo Daccò
Marimba - Alberto Baldan, Gianni Zilioli
Piano, Piano [Fender Rhodes]
Organ - Angel "Pocho" Gatti
Saxophone - Gerry Mulligan
Viola - Renato Riccio
Violin - Umberto Benedetti Michelangeli

Astor Piazzolla, the Argentinean master of the bandoneon (an instrument very similar to the accordion) and a revolutionary who recast the tango into something very new, invited the baritone sax legend Gerry Mulligan to record with his group in a Milan studio in 1974. Piazzolla's works have seemed to grow in stature since his sudden death following a stroke in 1992. While it's a shame that Mulligan never got an opportunity to record the leader's well-known ballad "Adios Nonino," there are many highlights, including the dramatic "Deus Xango," a wistful ballad "Close Your Eyes and Listen," and the reflective "20 Years After." Although he has few extended solos on this CD, Mulligan composed "Aire de Buenos Aires" (which frees up the group from Piazzolla's more tightly structured works), and he adds an important new voice to Piazzolla's music. The rather strangely muddied sound of this reissue makes the strings (violin, viola, and cello) often sound like a synthesizer, and the percussion is often a bit heavy-handed; perhaps this is why Piazzolla downsized later groups to omit drums. Fans of Piazzolla will want to pick up this once-again unavailable release, while it may be more of a historical curiosity for most Mulligan collectors. ---Ken Dryden, Rovi

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Astor Piazzolla - Adios Nonino (2012)

2013-01-27T18:03:18Z

Astor Piazzolla - Adios Nonino (2012)


01. Bordel 1900 03:45
02. Café 1930 06:52
03. Night-Club 1960 05:36
04. Concert d' aujourd'hui 02:54
05. Verano del '79 06:32
06. Tango apasionado 01:32
07. La Camorra II 06:35
08. Invierno porteno 04:23
09. Verano porteno 04:19
10. Oblivión 04:43
11. Libertango 05:39
12. Adios Noniño 08:10
13. Tango Nr. 2 05:19
14. Milonga del Angel 05:45
15. Michelangelo '70 02:57

Aniello Desiderio – guitar (1-4)
Gennaro Desiderio – violin (1-4)
Patrick Gallois – flute (13)
Goran Sollscher – guitar (8,9,13)
G-String Quarter (5-7, 14,15)
Daniel Binelli – bandoneon
Eduardo Isaac – guitar
Louise Pellerin – oboe
Orchestre Symphonique de Montreal
Charles Dutoit – conductor (10)
Hector Ulisses Pasarella – bandoneon
Luis Enriquez Bacalov – piano
Orchestra dell’Academia di Santa Cecilia Roma
Myung-Whun Chung – conductor (11,12)

Astor Piazzolla was the head of the Tango Nuevo movement during the time that he was writing Adios Nonino in 1959. Piazzolla was entirely of Italian decent, with two very Italian parents. His daughter gave them traditional Italian names for grandma and grandpa, Nonino and Nonina. One of the things that Piazzolla was involved in during the time was the music direction of a dance team called the Juan Carlos Copes, who travelled to Puerto Rico in 1959. On the last night of their trip to San Juan, Piazzolla received a telegram saying his father had fallen off of his motorcycle and was in critical condition. Piazzolla discovered the next day that his father had died the next day at noon. One he was back home, he asked everyone to be left alone for a while. No one ever heard him cry, but his wife heard him sigh while writing a bright and happy tune. It was then that Astor Piazzolla’s Adios Nonino was born.

Adios Nonino became one of the most popular pieces that Piazzolla had ever written. He declared later that he was “Surrounded by angels”, and that “He probably could do not it again, this being the finest tune he’s ever written”. Piazzolla tweaked and redid his Adios Nonino and rewrote at least twenty more arrangements of the same tango. The song had no words, and Piazzolla intended to keep it that way. After the death of his father, he was inspired to go back to Argentina and write more authentic music with his American experiences. Lacking the money for the travel, he sent Adios Nonino to his publisher. His publisher was ecstatic, calling it the crown jewel of tangos. Piazzolla then made his way to Argentina. --- mangiaitalianothemusical.com

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Astor Piazzolla - Concierto para Bandoneon • Tres Tangos (1987)

2010-11-02T09:30:27Z

Astor Piazzolla - Concierto para Bandoneon • Tres Tangos (1987)

Concierto para Bandoneon y Orquesta 
1- Allegro marcato 6:59 
2- Moderato 7:21 
3- Presto 6:25 

4- Adios Nonino	8:01
Tres tangos para bandoneon y orquesta 
5- Allegro tranquillo 6:40 
6- Moderato mistico 5:32 
7- Allegretto molto marcato 4:17     play

8- Adios Nonino (bis) 	8:15

Astor Piazzolla- bandoneon
Orchestra of St. Luke's
Lalo Schifrin – conductor

This recording with a classical orchestra is Piazzolla's apotheosis. For years he has been turning a dance form into an art music. Here he essentially crosses into the regional conservatory style called national music. ---John Storm Roberts, Rovi

As Gershwin married jazz with the European symphonic tradition, Piazzolla here transplants the tango into the concert hall, extending its boundaries beyond the limits of song and dance. The album features virtuoso performances by the composer on the bandoneón, the signature instrument of tango, accompanied by the Orchestra of St. Luke’s, under the direction of Lalo Schifrin. ---nonesuch.com

Astor Piazzolla (ur. 11 marca 1921 r. w Mar del Plata w Argentynie, zm. 4 lipca 1992 r. w Buenos Aires) – kompozytor tanga argentyńskiego, wirtuoz bandoneonu, tanguero.

Oryginalny styl stworzony przez Piazzollę znany jest pod nazwą „neuvo tango”. Nie jest to tango przeznaczone do tańczenia, lecz kunsztownie stylizowana muzyka do słuchania (podobnie jak wczesniej tango Igora Strawińskiego). Charakterystyczne jest dla niego nawiązanie do baroku: do formy passacaglii, do barokowego kontrapunktu w sposób nasuwający skojarzenie z fugą. Rytm tanga bywa wyraźny, ale równocześnie ulega wyraźnym zakłóceniom. Harmonia również odbiega od tradycji, dzięki chromatyce, a nawet dysonującej chromatyce. Cząste są nawiązania do jazzu. Stosowane są również niekonwencjonalne sposoby gry (jak w sonoryzmie), charakterystyczne dla brzmienia są glissanda. Wyraźnie zachowana jest natomiast charakterystyczna dla tanga atmosfera pewnej melancholii.

"Neuvo tango" stanowiło tak daleko posunięte przetworzenie tanga tradycyjnego, że wielu argentyńczyków do tego stopnia nie mogło się pogodzić z takim sposobem potraktowania ich narodowego tańca, że kompozytor spotykał się nawet z przejawami agresji.

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Astor Piazzolla - La Camorra (1989)

2011-03-07T19:22:55Z

Astor Piazzolla - La Camorra (1989)


1. Soledad
2. Camorra I
3. Camorra II                  play
4. Canorra III
5. Fugata
6. Sur: Los Suenos (South: The Dreams)
7. Sur: Regresso Al Amor (South: Regression To Love)


Bandoneon - Astor Piazzolla
Bass - Hector Console
Guitar [Electric] - Horacio Malvicino
Piano - Pablo Ziegler
Violin - Fernando Suarez Paz

Recorded May 1988 At Mastersound, Astoria, NewYork

Recorded with his quintet and originally released in the late '80s, La Camorra features some of tango master Astor Piazzolla's finest moments. The album was recorded after Piazzolla's last major U.S. tour, and La Camorra highlights the intensity of his composition as well as his playing. ~ Heather Phares

What I like about Astor Piazzolla 's compositions are that they shift dynamically, rhythmically, mood-wise in a fairly illogical way that mimics the texture of everyday life (mine at least). Not rampant atonality . Like life, the compositions retain consistent voices, threads of melodies. But bet's are off about what's comin' around the corner. Piazzolla is always a first-class FEELING human as opposed to a musician's musician. Operatic in his emotional intensity. This CD has an erotically slow "Soledad", three raucous and adorable fight-songs about "La Camorra" (the quarrel). Next, a muscular fugue, "Fugata", "Sur: Los Suenos (South: The Dreams)" holding a child's nursery song? inside, and last "Regresso Al Amor (South: Regression To Love)". I enjoy YOYO Ma's version of "Regresso Al Amor" (on Yo-Yo Ma: SOUL OF THE TANGO: MUSIC OF ASTOR PIAZZOLLA) but this CD has the composer performing, making it more bittersweet (he died in '92)- more "regressive". ---V. Perry

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Astor Piazzolla - Maria De Buenos Aires (1998)

2010-04-13T21:11:50Z

Astor Piazzolla - Maria De Buenos Aires (1998)

CD1:
1.Maria de Buenos Aires, operetta: Primera Parte. Alevare
2.Maria de Buenos Aires, operetta: Primera Parte. Tema de Maria
3.Maria de Buenos Aires, operetta: Primera Parte. Balada para un organito loco
4.Maria de Buenos Aires, operetta: Primera Parte. Milonga carrieguera
5.Maria de Buenos Aires, operetta: Primera Parte. Fuga y misterio (instrumental)
6.Maria de Buenos Aires, operetta: Primera Parte. Poema valseado
7.Maria de Buenos Aires, operetta: Primera Parte. Tocatta rea
8.Maria de Buenos Aires, operetta: Primera Parte. Miserere canyengue

CD2:
1.Maria de Buenos Aires, operetta: Segunda Parte. Contramilonga a la funerala	
2.Maria de Buenos Aires, operetta: Segunda Parte. Tangata del alba (instrumental)	
3.Maria de Buenos Aires, operetta: Segunda Parte. Carta a los arboles y a las chimeneas	
4.Maria de Buenos Aires, operetta: Segunda Parte. Aria de los analistas	
5.Maria de Buenos Aires, operetta: Segunda Parte. Romanza del duende	
6.Maria de Buenos Aires, operetta: Segunda Parte. Allegro tangabile	
7.Maria de Buenos Aires, operetta: Segunda Parte. Milonga de la anunciacion	
8.Maria de Buenos Aires, operetta: Segunda Parte. Tangus Dei

Julia Zenko - vocals
Jairo – vocals
Coral Lírico Buenos Aires
Kremerata Musica
Gidon Kremer – director

City gives birth to girl. City loses girl to shadowy underworld. City reunites with girl's spirit. That is the story of María de Buenos Aires, a 30-year-old Spanish-language operetta composed by Astor Piazzolla, the foremost proponent of modern tango. This recording was encouraged by violinist Gidon Kremer, resulting in an elegant new arrangement (down from the original eleven musicians to eight, including the late Piazzolla's beloved bandoneon) and the appearance of Horacio Ferrer, who wrote the libretto, to perform the role of Goblin (or El Duende), the narrator. Ferrer's textured spoken baritone brings a weary romance to the work, contrasting with Julia Zenko's robust María, who can enunciate pizzicato syllable-for-syllable runs without losing the meaning of her phrases, and who trills her r's with an emphasis equal parts street-wise and regal. For much of the operetta, María is actually the shadow spirit of María, cursed to wander the city; if Zenko's ethereal María seems more passionate than most mortals do, one must assume that Ferrer approves of the interpretation. The ensemble is exceptional, with particular emphasis given to Vadim Sakharov's jazzy piano and Kremer's elegiac violin. The production shows a tremendous amount of emotional restraint, in contrast with the María on Milan Records. At times, Ferrer's phantasmagoric poetry proves hysterically surreal. Who else, besides perhaps Woody Allen, could have composed an "Aria of the Anyalysts" in which María confronts her memories. --Marc Weidenbaum, amzon.com

A rendition of a tango operita, commissioned by the Argentinian Ministry of Culture (this rendition anyway), was revived by violinist Gidon Kremer, who had such a love for the original LPs from Piazzolla and Horacio Ferrer that he wanted to recreate the music. Ferrer was kept on as El Duende (the Goblin) -- the role that he created when he wrote the libretto thirty years earlier. Regrettably, Piazzolla had passed on prior to the remake. Nonetheless, the arrangements and orchestrations are remarkable. The suffering and the passion of Maria (the main character in the show) are perfectly portrayed by the tango. The music changes forms as her character progresses, taking on traditional tangos, modern tangos, milongas, waltzes, and other styles to reflect changes in Maria. The music is always well-composed. This is an opera for the display of modern music, and the tango of Piazzolla is modern music at its finest. ---Adam Greenberg, Rovi

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Astor Piazzolla - Tango Zero Hour (1986)

2011-03-05T20:04:02Z

Astor Piazzolla - Tango Zero Hour (1986)


1. Tanguedia III	4:39
2. Milonga Del Angel	6:31
3. Concierto Para Quinteto	9:06
4. Milonga Loca	3:09             play
5. Michelangelo '70	2:51         play
6. Contrabajissimo	10:19
7. Mumuki	9:34

Personnel:
Astor Piazzolla – bandoneon
Fernando Suarez Paz – violin
Pable Ziegler – piano
Horacio Malvicino, Sr. – guitar
Hector Console – bass

Astor Piazzolla lived and died as tango's bad boy, having almost single handedly invented the music's vanguard, the form known as tango nuevo. It took Piazzolla decades to reach his unequivocal apex, which is captured flawlessly on Tango Zero Hour. When this recording was cut in 1986, some of the compositions Piazzolla and his quintet cued up were standards for the band. Whether it was an epiphanic period or not, the recording captures an ensemble alchemically transforming seriously complex works into goose-bump-inducing electricity. Pianist Pablo Ziegler brings his jazz background into the mix with jarring urgency, just as violinist Fernando Suárez Paz makes quavering classical inflections sing amid Piazzolla's here tender and there blistering bandoneon. For a peak experience in music that challenges the ear to dance and the body to fully listen, look no further than this recording. --Andrew Bartlett

To paraphrase a statement made by Piazolla in the disc's liner notes, TANGO: ZERO HOUR is undoubtedly the finest effort by this utterly unique Argentinia-born and New York-raised musician. A master of the bandoneon, a buttoned squeeze-box that is the central instrument of tango music, Piazolla forges a hybrid style that mixes his love of tango with elements of jazz and classical and unifies the blend with an avant-garde sensibility.

TANGO: ZERO HOUR supports Piazolla with an ensemble of violin, piano, guitar, and bass for an album of great complexity and fierce passion. The result is something of a cross between experimental chamber composition and careening dance songs, music that sounds at once ethnic, indigenous, singular, and contemporary. Each of the album's seven pieces is demanding, though the rewards--from the insane spill of "Michelangelo '70" to the achingly beautiful "Milonga Del Angel"--are multiple. This is the best kind of fusion music: intense, multi-dimensional, and adventurous.

Tango: Zero Hour - (Nuevo Tango: Hora Zero - hiszp.) - album muzyczny argentyńskiego muzyka, wirtuoza bandoneonu Astora Piazzolli. Wszystkie utwory zarejestrowane na płycie skomponowane zostały przez Astora Piazzollę (również aranżacja jest jego autorstwa). Album został nagrany w maju 1986 w Sound Ideas Studio w Nowym Jorku, wydany we wrześniu 1986 przez wytwórnię American Clavé; wznowiony w 1988 przez Pangaea Records. Tango: Zero Hour zostało uznane przez samego Piazzollę za najlepszą płytę, jaką nagrał. Magazyn Rolling Stone (omawiając reedycję) napisał, iż twórczość muzyka - to kombinacja: form stosowanych we współczesnej muzyce klasycznej, improwizacji charakterystycznej dla jazzu i dynamiki, jaka cechuje rock'n'rolla.

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Astor Piazzolla - Tangos for Violin, Brass Quintet and Percussion (2011)

2011-04-20T18:41:46Z

Astor Piazzolla - Tangos for Violin, Brass Quintet and Percussion (2011)


1. Violentango (arr. D. De Sena for brass quintet and percussion) 00:04:26
2. Amelitango (arr. D. De Sena for brass quintet and percussion) 00:04:07
3. Tristango (arr. D. De Sena for brass quintet and percussion) 00:05:32

Las 4 Estaciones Portenas (The 4 Seasons in Buenos Aires) (arr. D. De Sena for violin, brass quintet and percussion)
4. No. 1. Verano Portena 00:04:57
5. No. 2. Otono Portena 00:04:30
6. No. 3. Invierno Portena 00:05:47
7. No. 4. Primavera Portena 00:04:18

8. Undertango (arr. D. De Sena for brass quintet and percussion) 00:04:30
9. Novitango (arr. D. De Sena for brass quintet and percussion) 00:03:49
10.Histoire du Tango (History of the Tango): I. Bordel 1900 (arr. D. De Sena for violin, brass quintet and percussion) 00:04:02
11.La Muerte del Angel (arr. D. De Sena for violin, brass quintet and percussion) 00:03:19
12.Meditango (arr. D. De Sena for brass quintet and percussion) 00:06:15
13.Ave Maria (arr. D. De Sena for violin, brass quintet and percussion) 00:02:42
14.Oblivion (arr. D. De Sena for violin, brass quintet and percussion) 00:03:49
15.Libertango (arr. D. De Sena for violin, brass quintet and percussion) 00:02:06

Andrea Tacchi, violino
Quintetto di Ottoni 
Percussioni della Toscana

The music of Argentine tango-classical fusion musician Astor Piazzolla has been played by an enormous variety of ensembles, going back to the days of Piazzolla himself. Most groups try to replicate the sounds of Piazzolla's own quintets (or other medium-sized groups), making strings stand in for the frictive quality of Piazzolla's own bandoneón, for example. Few have departed from the source material as thoroughly as does Italy's Tuscan Brass and Percussion Quintet, which divorces the rhythmic content of Piazzolla's music from the tonal content and assigns it to the percussion players. The rest goes to a group of brasses, with a violin present in some of the numbers to take prominent solos. The arrangements tend to abstract the rhythm, which somehow loses its tango quality as it is split from Piazzolla's extended minor harmonies. The violin's biggest workout comes in Las cuatro estaciónes porteñas (The Buenos Aires [Port City] Four Seasons), where the arrangement by Donato de Sena is based, without credit, on the version of the work by Russian composer Leonid Desyatnikov; the music includes quotations from Vivaldi's Four Seasons, and as these morph into the somewhat jazz-like Piazzolla renderings you have to stop and give credit to the musicians for the sheer imagination of the whole project. This odd conception is emphatically not a good place to start with Piazzolla, but those already hooked may find it instructive to discover just how far his music can be pushed. ---James Manheim, Rovi

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