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Only the human being can decodify the
musical message.
Its content may not mean the same to
different people, but all respond either
with joy or sadness, with laugh or tears,
with excitement or depression, with
drive, fear or passion, and few, very few,
even with indifference.
by Max E.Valentinuzzi
[email protected]
[email protected]
[email protected]
Minneapolis-Rochester, MN, Oct 6,13,17/2007
THE ARGENTINE TANGO IS NO EXCEPTION,
FOR IT CARRIES,
1-A MUSICAL MESSAGE;
2-A BODY MESSAGE IN ITS SENSUAL DANCE;
AND
3-A POETIC MESSAGE IN ITS LYRICS,
OFTEN TELLING THE MISFORTUNES OF
FRUSTRATED LOVING MEN AND WOMEN.
Someone said:
“Tango is a short-lived love affair …
quite often, it is also the vertical
expression of a mostly unfulfilled
horizontal desire.”
1-ATANICHE
2-DON JUAN
3-EL CHOCLO
18-AZUL NOCHE
4-JULIÁN
19-LA BORDONA
5-EL LLORÓN
20-LOS MAREADOS
6-ALMA DE BOHEMIO
21-PORQUE AMO A BUENOS AIRES
22-CONTRATIEMPO
7-RECUERDO
8-SENDA FLORIDA
9-UNO
10-TAQUITO MILITAR
11-EL FIRULETE
12-RESPONSO
13-TANGO TRISTE
14-YUYO VERDE
15-NARANJO EN FLOR
16-DANZARÍN
17-PAYADORA
23-PARA LUCIRSE
24-LO QUE VENDRÁ
25-MARRÓN Y AZUL
26-ADIOS NONINO
27-LA MUERTE DEL ÁNGEL
28-VERANO PORTEÑO
29-OTOÑO PORTEÑO
30-ALMA, CORAZÓN Y VIDA
(Peruvian Waltz)
The exact origins of the Tango are not clear, but it does go back well
over 100 years, beginning just at the end of the 19th Century. Tango
evolved in Buenos Aires, Argentina, and in Montevideo, Uruguay. In
time, it would go from the brothels to the elite ballrooms of Europe
and to New York in the 1920s. It has been steadily growing into the
21st Century, more popular than ever.
While no one has yet been able to specifically trace the origin of the
Tango, one thing is certain, the Tango was made by Immigrants to
Argentina and to Uruguay. Even the bandoneón is an immigrant,
having been invented in Germany by Heinrich Band (ergo
bandoneón) and sent to Argentina. Three major types of music fall
under the general family of Argentine Tango:
Tango, Milonga and the Argentine Vals,
with several subsets.
THERE WERE DEFINITE INFLUENCES FROM THE AFRICAN
CANDOMBE AND THE CUBAN HABANERA PLUS
INGREDIENTS OF THE STRONG ITALIAN IMMIGRATION OF
THE 1880´s AND 1990´s IN ARGENTINA.
THE PEOPLE ASSOCIATED WITH TANGO WERE NOT
DESIRABLE NOR WELL CONSIDERED.
THEY USUALLY CAME FROM THE OUTSKIRTS OF THE
CITY, NOT EDUCATED.
PROSTITUTES, PIMPS, OUTLAWS AND ALCOHOL WERE
CURRENT.
Tango came out of the Enramadas and Quilombos and the low
cafes of Buenos Aires and Montevideo.
Candombes were originally religious gatherings held by the black
people, with much dancing to the rhythm of the tang drums.
Whites thought the dancing to be immoral. Today, the candombe
is a distinctive musical style very much identified with Uruguay, in
the same way the Samba identifies Brazil and the rumba, mambo
and son identify Cuba.
Participants used the word tang for everything, the dance itself,
the drums used, and even the places where these rituals were
carried out.
It should be noted that Montevideo and Buenos Aires are both
located on opposite shores at the mouth of the Rio de la Plata.
The original Candombe rhythms were heard in both cities and the
tango was, and still is, a part of both cultures.
SEVERAL PERIODS CAN BE DISTINGUISHED:
1900 - 1920: LA GUARDIA VIEJA (The Old Guard)
1920 - 1940: LA GUARDIA NUEVA (The New Guard), sometimes
referred to as The Golden Years of Tango, when singers entered
into scene; also called the Tango Canción Era
1940 - 1960: POST - GUARDIA NUEVA (The New Post-Guard) or
The Generation of the 40's, or the
TANGO DE ORQUESTA TÍPICA (Typical Band). Some became
QUASI-SYMPHONIC BANDS (ca 1950 and after, as that of
MARIANITO MORES).
1960 - present: EL NUEVO TANGO (The New Tango)
ASTOR PIAZZOLA (1950 - 1990)
GUARDIA VIEJA: 1900 - 1920
The instrumental groups were small (duets, trios and
quartets). Tempo was briskly and faster than today's.
Violin, guitar and flute predominated. The bandoneón
appeared later.
Tango was still set in the old arrabales, where
'disreputable' men could often be seen dancing with each
other in the streets as practice before visiting a tavern or a
brothel. These old tangueros enjoyed notoriety as
dangerous, picaresque, morally and sexually debased.
Street musicians of the
early 1920’s
The bandoneón is already
there.
.
ATANICHE
DON JUAN
EL CHOCLO
JULIÁN
EL LLORÓN
ALMA DE BOHEMIO
ATANICHE (Che, ANITA, all the way around), tango
by Ernesto Ponzio (el Pibe Ernesto), 1885-1934
A passional event led him to jail for 15
years, reappearing in 1932 during the
Mardi Gras Festivities with the typical
band of a guy named Juan Carlos Bazán.
Some people contend that ATANICHE is
anonymous, very popular around 1900.
Roberto Firpo and Ernesto Ponzio took it for their
repertoires until the latter decided to publish it as
his. In 1914 it was recorded by Roberto Firpo under
the title Los Guevara, putting his name as author.
His most famous tango,
Don Juan,
would have been composed, without
lyrics, in 1898.
If so, Ponzio would have been only
13 years old.
Played for the first time at “Lo de
Hansen”, a dancing place, located at
the intersection of Sarmiento and
Figueroa Alcorta Avenues, the center
of Palermo Park, and very close to
where the American Embassy is now.
Dedicated to Don Juan Cabello,
a night customer.
“LO DE HANSEN”
SARMIENTO Y
FIGUEROA ALCORTA
PALERMO
EL CHOCLO (1903)
Music: Angel Villoldo; Lyrics: Enrique Santos
Discèpolo (1947)
On November 3, 1905, the upper class clientele of the
exclusive Restaurante Americano gathered as usual to
listen to pianist Jose Luis Roncallo and his orchestra. A
few days earlier, Angel Villoldo had shown to Roncallo the
melody of a tango he had composed. Roncallo fretted at
the idea of playing a tango for the "creme-de-la creme" of
Buenos Aires society.
Yet, the sound of the unnamed tune was so compelling
that Roncallo decided to sneak it as a "danza criolla". And
so he did on that evening of November 3, 1905. Villoldo
named it El Choclo because for me the choclo is the tastiest
ingredient of the 'puchero‘. The "puchero" reference
reflected Villoldo's hope that the success of the tango
would bring food to his table. To earn a living was
commonly referred to as earning the "puchero."
Poet, composer, actor
and theater author
(27 March 1901–23 Dec
1951)
ANGEL
VILLOLDO
1864-1919
Con este tango que es burlón y compadrito
se ató dos alas la ambicion de mi suburbio;
con este tango nació el tango y como un grito
salió del sórdido barrial buscando el cielo;
conjuro extraño de un amor hecho cadencia
que abrió caminos sin más luz que la esperanza,
mezcla de rabia, de dolor, de fe, de ausencia
llorando en la inocencia de un ritmo juguetón.
Por tu milagro de notas agoreras,
nacieron sin pensarlo, las paicas y las grelas,
luna en los charcos, canyengue en las caderas,
y un ansia fiera en la manera de querer...
Al evocarte...
tango querido.
siento que tiemblan las baldosas de un bailongo
y oigo el rezongo de mi pasado ...
Hoy que no tengo...
más a mi madre...
siento que llega en punta'e pie para besarme
cuando tu canto nace al son de un bandoneón.
Carancanfunfa se hizo al mar con tu bandera
y en un pernó mezcló a París con Puente Alsina.
Fuiste compadre del gavión y de la mina
y hasta comadre del bacán y la pebeta.
Por vos shusheta, cana, reo y mishiadura
se hicieron voces al nacer con tu destino,
misa de faldas, querosén, tajo y cuchillo,
que ardió en los conventillos y ardió en mi corazón.
Bacán: a wealthy man or one who pretends to be wealthy. A man who keeps a
woman. Cana: the police, a policeman or the jail.
Canyengue: It refers to somebody or something from the slums. It also describes a
gathering where people from the slums dance. It is also a certain way to perform
or dance the tango. Finally, it is a rhytmic effect created by Leopoldo Thompson
by hitting the string of the contrabass with the hand or the arch of the bow.
Carancanfunfa: the dance of tango with interruptions (cortes) and also those who
dance it that way. Gavion: lunfardo for a libertine man who seduces women.
Grelas: lunfardo for woman. Mishiadura: lunfardo for poverty. Mina: woman.
Paicas: woman
Pebeta: young woman or girl.
Reo: unemployed and reticent to work. Typical of people of lower class status.
Shusheta: a person who takes excessive care of his attire. Also a police informant.
Julián (1922)
Edgardo Donato (1897–1963) & José Panizza
Donato´s first tango, dedicated to Julián González,
a drum player in Montevideo. Edgardo, violinist,
used to say jokingly that Julian was really ugly.
Donato tried to sell this tango for 20 old pesos (1
dollar = 1.80 old pesos), but could not, until 2 years
later it was very successfully interpreted and
recorded by Rosita Quiroga, in Buenos Aires.
¿Por qué me dejaste,
mi lindo Julián?
Tu nena se muere
de pena y afán ...
Why did you leave me,
my beautiful Julian?
your (poor) gal is dying
of pain and desire ...
April 14
1897 –
February 15
1963
EL LLORÓN (The crier or weeper) ca 1890
Lyrics: Enrique Cadícamo; Music: Ambrosio Radrizzani
(?)
Juan Maglio (Pacho) took it as anonimous and played it
with great success at La Paloma Café, in the Palermo
area, in Buenos Aires.
Yo ... soy pa' el amor muy blando y a la mujer pa'
conquistarla yo le hago ver de cuando en cuando que
hay que llorar pa' enamorarla ...
I’m ... for love too soft (and easy) and if a gal, I am to
conquer, I make her see every now and then, you have
to cry, to make her love you ...
Alma de Bohemio (1914)
composed for the theater play of similar name presented
by a famous actor, Florencio Parravicini, in the Teatro
Argentino, at Bartolomé Mitre Street, downtown Buenos
Aires.
music by Roberto Firpo and lyrics by Juan Andrés Caruso
Peregrino y soñador,
cantar
quiero mi fantasía
y la loca poesía
que hay en mi corazón,
y lleno de amor y de alegría,
volcaré mi canción.
(10 May 1884 - 14 June 1969)
Pianist, composer and director of a well reputed quartet (piano,
bandoneon and two violins)
Alma de Bohemio was an early anticipation of a musically more elaborated
tango, even its lyrics had a more romantic touch.
RECUERDO
1924
Pianist, director, composer.
(Dec 2, 1905 – July 25, 1995)
Alma de Bohemia (1914) was a vanguard tango, by
its melodic structure and musical density.
Recuerdo (1924) is of a similar quality or species,
marking an inflexion point in tango creativeness.
Played in public for the first time by Juan Fava’s
quartet, at Mitre café, in the traditional Villa
Crespo quartier of Buenos Aires City.
Osvaldo’s father, Adolfo,
appeared as author in the first
printed editions, probably
because Osvaldo was still under
age (he was 19) and intellectual
property was then not properly
regulated in Argentina.
Only years later this composition
was registered under his name.
Senda florida
(Flowered path)
Words by E.Cardenas - Music
by Rafael Rossi
Rafael Rossi began the study of
the bandoneon at an early age.
He was only 24 years old when
he began playing with celebrated
orchestras, such as Juan Maglio,
Canaro, Firpo and De Leone. He
was also a prolific composer of
tangos, some of which, for
instance, Primero yo and Como
abrazao a un rencor, were
brought to success by Carlos
Gardel.
-UNO
-TAQUITO MILITAR
-EL FILURETE
Mariano Mores (true name Mariano Martínez), born in Buenos Aires, 18
February 1922, barrio de San Telmo, has a distinctive lead in popularity over other
contemporary artists.
He is a pianist with a grand style and author of many compositions that are now
classics of the Tango repertoire, such as:
Cuartito Azul (1939), his first tango
En esta tarde gris (1941)
Grisel (1942)
Uno (1943), con Enrique Santos Discépolo
Cristal(1944), con Enrique Cadícamo
Adiós, Pampa mía (1945)
Sin palabras (1946), con Enrique Santos Discépolo
Cafetín de Buenos Aires (1948) con José María Contursi
Una lágrima tuya (1949), con Homero Manzi
El Patio de la Morocha (1951)
Taquito militar (1952)
La Calesita (1953), con Cátulo Castillo
El firulete (1958)
Por qué la quise tanto (1961)
and many others …
He recorded his first tango in 1954 with a symphonic orchestra and his career never stopped ever
since. His compositions are still recorded by others. The musical arrangements of his own
recordings are characteristic, enriched and often overemphasized with singularities: syncopations,
silences and his personal style of musical ornaments.
Fotos
Mores y una de las parejas de bailarines que lo acompañan en su nuevo espectáculo
-RESPONSO
-TANGO TRISTE
ANIBAL TROILO
El Bandoneón Mayor de Buenos Aires
(The Greatest Buenos Aires’ Bandoneon)
(11/07/1914)- (18/05/1975).
His body of work encompasses great creations but it also includes
interpretations which constitute hits from Buenos Aires city music.
"Gordo Pichuco" represents a piece of history not only of tango but
of this city nigth's life.
-Responso (1963)
-Tango Triste (1943)
Yuyo Verde (1944)
Lyrics: Homero Expósito; Music: Domingo Federico
Callejón, callejón (alley)
lejano, lejano...
íbamos perdidos de la mano
bajo un cielo de verano
soñando en vano...
Un farol, un portón
igual que un tango
y los dos perdidos de la mano
bajo el cielo de verano
que partió...
Member of the glorious
1940 decade, Domingo
Federico died April 7, 2000.
He was 83 years old.
Reunion in 1961: Caló, Pontier,
Federico, Francini.
Talented bandoneonist, exquisite director, he gave up being a
medical doctor by the end of the 1930's. He was born in 1916.
He took bandoneon lessons from Pedro Maffia at the same time as
he studied physiology with Bernardo Houssay. Homero Exposito
wrote the lyrics for many of his famous tangos, 'Percal', 'Yo soy el
tango', 'Yuyo verde', 'Tristezas de la calle Corrientes'.
He became independent in the 1940's and formed his own orchestra.
His music was soft, very elegant and beautiful for dancing.
Naranjo en flor, 1944, Virgilio and
Homero Expósito
Era más blanda que el agua,
que el agua blanda,
era más fresca que el río,
naranjo en flor.
Y en esa calle de estío,
calle perdida,
dejó un pedazo de vida
y se marchó...
Primero hay que saber sufrir,
después amar, después partir
y al fin andar sin pensamiento...
Perfume de naranjo en flor,
promesas vanas de un amor
que se escaparon con el viento.
Después...¿qué importa el después?
Toda mi vida es el ayer
que me detiene en el pasado,
eterna y vieja juventud
que me ha dejado acobardado
como un pájaro sin luz.
Pianist and composer
(3 May 1924 – 25 Oct 1997)
Virgilio Hugo Expósito
Prolific author, when he was 14, he
composed Maquillaje, and a few years
later, Naranjo en Flor, both with lyrics
written by his brother Homero.
-DANZARÍN
-PAYADORA (milonga)
from the
Generation of the 1955’s
Julián Plaza
pianist, bandoneonist, composer,
arranger
(9 July 1928-19 April 2003)
Played with the best tango orchestras of
Argentina (Edgardo Donato, Miguel Caló,
Carlos Di Sarli, Osvaldo Pugliese, Aníbal
Troilo, Astor Piazzola) and organized the
Sexteto Mayor.
His tangos and milongas have a distinct seal.
Danzarín is probably his best creation
followed
by
Sensiblero,
Melancólico,
Nostálgico, Disonante and Payadora.
AZUL NOCHE
1971
Osvaldo PIRO (1936)
Artistic godson of Aníbal Troilo (who left him his bandoneón) and of
the poet Cátulo Castillo, Osvaldo Piro became one of the youngest
tango directors. The intersection of
Florida and Corrientes, a traditional porteño spot, was named after
him in 1996.
He has shared podiums with the best artists: Maximiliano Guerra,
Osvaldo Pugliese, Lalo Schifrin, Horacio Salgán, Aníbal Troilo,
Leopoldo Federico, Pedro Vargas, Juan Carlos Copes, Jairo, Julio
Bocca, Sandro, Alberto Cortez,
Susana Rinaldi, Roberto Goyeneche, Eladia Blázquez, Adriana
Varela, Eleonora Cassano, Armando Manzanero, Joaquín Sabina,
Hugo Marcel, Julián Plaza, Valeria Lynch, Patricia Sosa, Alejandro
Lerner …
propia orquesta.
Orquesta Osvaldo
-LA BORDONA
1965
Emilio Balcarce:
88 years for talent
The first instrument he played was the
mandolin from his birth-home. Soon, he
played the violin, which characterized a
great part of his career.
In the last years, he took the bandoneon
between his hands and, due to his talent,
those who don't know about his past with
the violin might think there were no other
instrument before.
La Transa, Bien Compadre, De
Contrapunto, La Bordona, may be his most
popular themes, are precious pearls in the
repertory of the orchestra he conducts.
Los mareados
Tango
1942
Lyrics: Enrique Cadícamo (1900-1999)
Poet, writer
Music: JC Cobián
Pianist, director, composer
(31 May 1896 – 10 Dec 1953)
PORQUE AMO A BUENOS
AIRES
Eladia Blázquez: Pianist,
guitarist, composer, author,
singer (24 Feb 1931-31 Aug
2005)
She created a new tango canción,
perhaps with castings somewhat
unexpected and with great ability to
combine words and musical notes.
Her public impact was large and wellspread, even abroad.
Astor Piazzola
Contratiempo
Para lucirse
Lo que vendrá
Marrón y azul
Adios Nonino
Milonga en Ay menor
La muerte del ángel
Verano porteño
Otoño porteño
Astor Pantaleón Piazzolla
Bandoneonista, pianista, director, compositor y arreglador.
(11 de marzo de 1921 – 4 de julio de 1992)
Piazzolla started his musical career in Buenos Aires
in 1938, after spending his childhood in the USA.
He had a high level music education (for example,
he studied in Paris with Nadia Boulanger) and was
very much rejected in Argentina; however, he
gained recognition and respect, first abroad, and
later on, in his native country.
Carlos Gardel spoke from the studios of RCA Victor
on March 20, 1935, where he was recording the
songs for his movie “EL DÍA QUE ME QUIERAS“. He
talked also of an upcoming tour to Puerto Rico,
Venezuela, Colombia, Panama, Cuba and Mexico.
During this tour, Gardel died in a plane crash at
Medellín Airport, in Colombia, on June 24, 1935.
RUE DU CANNON d´ARCOLE
BOULEVARD LASCROSSÉS
ALMA CORAZÓN Y VIDA
Vals peruano
Adrian Flores
Recuerdo aquella vez que yo te conocí,
recuerdo aquella tarde pero no me acuerdo
ni como te vi.
Pero sí te diré, que yo me enamoré,
de esos tus lindos ojos y tus labios rojos
que no olvidaré.
Oye esta canción que lleva:
alma corazón y vida,
estas tres cositas nada más te doy.
Porque no tengo fortuna,
estas tres cosas te ofrezco:
alma, corazón y vida y nada más.
Alma para conquistarte,
corazón para quererte,
y vida para vivirla junto a tí
WITH LOVE AND
RECOGNITION,
TO ALL OF YOU,
FROM
MAX VAL
LEFT: NATALIA VILLANUEVA,
PLAYING THE MAN, DANCING
TANGO WITH A DOLL. BELOW:
MAX VALENTINUZZI PLAYING
TANGO ON A PIANO.