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ASTOR PIAZZOLLA (1921-1992) made his mark in tango as an innovative composer, arranger, and band leader. Libertango and Adios Nonino are good examples of Piazzolla’s modern use of harmony, extended tango forms, and rhythmic innovations. His groups, such as the famous Quintet founded in the 1960s, combine stylistic elements from tango, classical, and jazz.
The History of Tango reflects different musical developments of the tango. The texture of Bordel 1900 simulates the type of ensembles, such as flute, guitar and violin that played in the neighborhood brothels of Buenos Aires. Café 1930 embraces the tango-cancion style made famous by Argentina’s beloved vocalist Carlos Gardel. Nightclub 1960 displays one of Piazzolla’s trademarks, his ability to flip back and forth between scenes while conveying a cohesive musical story. The last movement, Tango of Today, displays Piazzolla’s rhythmic sense accentuated by dissonant guitar chords and a contrapuntal flute line. ANDREW BERGERON (b. 1978) writes many compositions inspired by his study of philosophy. Andrew Bergeron’s Creation (2001) and Once More (2003) are pieces for voice and chamber ensemble that show his style of setting philosophical ideas to music. Three Metamophoses and Tao are also based on philosophical texts. They were originally scored for voice and guitar and are here arranged for flute and guitar.
The Three Metamophoses, The Camel, The Lion, and The Child, correlate to three characters in Friedrich Nietzsche’s work Thus Spoke Zarathustra. The camel takes the world on his back, a self-punishing outlook on life; the lion makes the world his domain; and the child abandons these realms saying “yes” in acceptance and forgiveness. The music for each movement mirrors the journey of the characters as the melody is stated, then develops through free improvisation, and finally, is restated.
Tao is based on the 14th verse of the ancient Chinese text Tao Te Ching. It was written 2500 years ago by an author who left the name Lao Tzu, which literally means “Old Master.” The meditative flute and guitar parts for Tao reflect the 14th verse suggestion to “move with the present.” JULIAN PLAZA (1928-2003) composed primarily instrumental tangos during his fifty year career as a tango composer, arranger, and performer. Plaza played bandoneon (a button accordion) with Calo, Di Sarli, and Pugliese, and peaked as an arranger for the Annibal Troilo orchestra.
Danzarin (Jumpy) was premiered in the 1950s when Plaza played bandoneon with Calo’s orchestra. Danzarin inspired many of his other well-know tangos such as Melancolico, Nostalgico, and Sensiblero.
Nocturna (Night) is a milonga, a fast paced dance that is similar to tango. It can be recognized here in the guitar part which grooves underneath a whirling flute melody. ENRIQUE SABORIDO (1877-1941) was an important pianist, composer, director, and dance teacher in Buenos Aires. He first performed in the neighborhood of Palmero, an important tango district in Buenos Aires. Saborido’s El Choclo and La morocho are two tangos that inspired his collaboration with the prolific lyricist Angel Villoldo.
Felicia (Happy), written in 1910, is a good example of the musical form of tango from the early 20th century. It starts with a rhythmic section, followed by a repeated lyrical section and ends with an elaborated version of the opening material. LUIS PADULA (1839-1945) was influenced as a director, composer, pianist, and guitarist by musica creollo, a style that mixes tango and folk music. This style was developed by subsequent composers such as Ariel Ramirez.
Nueve de Julio (Ninth of July) is Argentina’s Independence Day. Many lyricists have set text to this tango that deals with the joy of political victory mixed with the hope for the return of lost love. Nueve de Julio is also a famous street in Buenos Aires that remains a popular tourist attraction. ARIEL RAMIREZ (b.1921) is a composer and pianist who merges tango, classical, and folk genres. Misa Criollo (1964), an important work for Ramirez, displays how affectively his compositions incorporate different musical styles. His life-long collaboration with the lyricist, poet, and writer Felix Luna has inspired many famous vocal works that are still performed today.
Alfonsina Y el Mar is performed here on alto flute and guitar, but is originally a song from the set of pieces called Mujeres Argentinas (Argentine Women), which tell the stories of important women in Argentina’s history. Alfonsina Y el Mar is a well-known Argentine song about Alfonsina Storni (1892-1938), a poet and journalist who struggled as a feminist and single mother raising her child out of wedlock. Felix Luna’s poem for the piece focuses on the final moments of Alfonsina Storni’s life, when after years of social alienation and the development of an untreatable cancer she downed herself in the sea. JUAN DE DIOS FILIBERTO (1885-1964) was primarily a self-taught pianist, composer, and director who grew up in the famous Buenos Aires’ neighborhood La Boca, where he composed Quejas de Bandoneon and Caminito. Filiberto also established SADIC (The Society for Argentine Composers) which secured a framework for the rights and freedoms of his predecessors.
Cuando Llora La Milonga (When the Milonga Weeps) was written in collaboration with the lyricist Maria Luisa Carnelli. Carnelli was a poet, and journalist who published under the pen names Luis Mario and Mario Castro. This tango, often sung by Carols Gardel, comments on the passion, grief, and violence surrounding male and female relationships in the Buenos Aires suburbs. Liner notes by Carmen Maret © 2003 Carmen Maret
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