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April 20, 2005
astor piazzolla :: the rough guide
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While Astor Piazzolla is closely associated with a particular niche genre - tango - he is one of those momentous, inspirational artists who broke and changed all of the rules and regulations. He made new music out of old forms, serious music out of folk, and challenging music out of vulgar - without ever losing the human core. He belongs in discussions about true musical invention and modernization that are populated by the likes of Duke Ellington, Bob Dylan, and Sonic Youth, as well as Gershwin, Bartók, and even Stravinsky. He is certainly regarded as a national cultural treasure in his native Argentina.
He also belongs in that unique set of Latin American artists of any medium who combined a serious intellecutalism with a magical, often fantastical kind of romance. One could imaging Marquez, Borges, and Neruda at his dinner parties - and they probably were.
I was introduced to Piazzolla briefly in college - as a way to extend my interest in those South American writers - and his music made a deep impression, though I lost the tape or left it behind for my indie-rocking ways. This year's release of a Rough Guide compilation (and these compilations are almost always excellent) gave me an opportunity to get back in. I should have been spending these years amassing the complete works.
Let's start with an early recording from 1957, one of his more traditional: "Tres Minutos con la Realidad". It's anything but rote; there's a clear influence of the classical music of the early part of the century. You also hear here - as in almost every piece I've heard - a cinematic quality. There is always a story being told (and his music was indeed used in plenty of films).
Tres Minutos con la Realidad (mp3)
Now, a bit about his instrument, the chief weapon of tango: the bandoneón. It's part of the accordion family, along with the concertina and harmonium, but it doesn't have piano-style keys. It only has those little punch-buttons. Since buttons create different notes on opening or closing the bellows, it's quite complex. So, you might ask yourself how he pulls off the opening lengthy solo in his composition, "Bandoneón". Then you might marvel at the expansiveness, complexity, and high romance of the piece itself.
Bandoneón (mp3)
One of his more studied compositions is the "Tanguedia" suite, from a 1985 film called Tango, El Exilio De Gardel. This part two of three.
Tanguedia 2 (mp3)
And then, to prove that he wasn't above the people, and that he could rock out, try one of his most popular numbers from 1974, which was later covered by both Grace Jones and Yo-Yo Ma (separately).
Libertango (mp3)
If you'd like to hear more and can tolerate Real Audio, there's an immense selection at the biggest fan site, piazzolla.org, along with plenty of other research material. And I can tell you that the selections I've provided are just a taste; the entire Rough Guide is a must.
Posted by borrowed_tunes at April 20, 2005 11:12 PM
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