Astor Piazzolla - Knowledge (XXG)

1457:). Had he not suffered an incapacitating stroke on the way to Notre Dame mass in 1990, it is likely that he would have continued to use his popularity as a performer of his own works to experiment in relative safety with even more audacious musical techniques, while possibly responding to the surging popularity of non-Western musics by finding ways to incorporate new styles into his own. In his musical professionalism and open-minded attitude to existing styles he held the mindset of an 18th-century composing performer such as Handel or Mozart, who were anxious to assimilate all national "flavors" of their day into their own compositions, and who always wrote with both first-hand performing experience and a sense of direct social relationship with their audiences. This may have resulted in a backlash amongst conservative tango aficionados in Argentina, but in the rest of the West it was the key to his extremely sympathetic reception among classical and jazz musicians, both seeing some of the best aspects of their musical practices reflected in his work. 463: 649: 298:. Gardel invited the young bandoneon player to join him on his tour. Much to Piazzolla's dismay, his father decided that he was not old enough to go along. The disappointment of being forbidden to join the tour proved to be fortunate, as it was on this tour in 1935 that Gardel and his entire orchestra perished in a plane crash. In later years Piazzolla jokingly made light of this fateful event: had his father let him join the tour, Piazzolla would have played the harp instead of the bandoneon. 958: 876: 743: 49: 4023: 4059: 4033: 1274: 735:), a chamber music formation, which was a realisation of a dream for Piazzolla and for which he composed some of his most sophisticated music. He now put aside his first Quinteto and made several recordings with his new ensemble in Italy. Within a year the Conjunto 9 had run into financial problems and was dissolved and in 1972 he participated in his first concert at the 950: 4083: 4071: 1353:

imitates most sections of a symphony orchestra, including the percussion, which is improvised by all players on the bodies of their instruments – and the strong expressive identity it permits each individual musician. With a style that is both rugged and intricate, such a setup augments the compositions' inherent characteristics.

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himself. At the end of the concert, a fight broke out among members of the audience who were offended by the inclusion of two bandoneons in a traditional symphony orchestra. In spite of this Piazzolla's composition won him a grant from the French government to study in Paris with the legendary French composition teacher

4095: 1453:, two of which he described on separate occasions as "the greatest thing I've done", he disbanded the quintet, formed a sextet with an extra bandoneon, cello, bass, electric guitar, and piano, and wrote music for this ensemble that was even more adventurous harmonically and structurally than any of his previous works ( 585:, made him a controversial figure in his native land both musically and politically. However, his music gained acceptance in Europe and North America, and his reworking of the tango was embraced by some liberal segments of Argentine society, who were pushing for political changes in parallel to his musical revolution. 588:

In 1958 he disbanded both the Octeto and the String Orchestra and returned to New York City with his family where he struggled to make a living as a musician and arranger. Briefly forming his own group, the Jazz Tango Quintet with whom he made just two recordings, his attempts to blend jazz and tango

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At Ginastera's urging, on August 16, 1953, Piazzolla entered his classical composition "Buenos Aires Symphony in Three Movements" for the Fabian Sevitzky Award. The performance took place at the law school in Buenos Aires with the symphony orchestra of Radio del Estado under the direction of Sevitzky

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in New York City, which in those days was a violent neighbourhood inhabited by a volatile mixture of gangsters and hard-working immigrants. His parents worked long hours, and Piazzolla, despite having a limp, soon learned to take care of himself on the streets. At home he would listen to his father's

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of bandoneon, violin, piano, electric guitar and double bass was Piazzolla's preferred setup on two extended occasions during his career, and most critics consider it to be the most successful instrumentation for his works. This is due partly to its great efficiency in terms of sound – it covers or

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as lyrical soloists. The piano tends to be used throughout as a percussive rhythmic backbone, while the electric guitar either joins in this role or spins filigree improvisations; the double bass parts are usually of little interest, but provide an indispensable rugged thickness to the sound of the

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has pointed out, Piazzolla's fusion of tango with this wide range of other recognizable Western musical elements was so successful that it produced a new individual style transcending these influences. It is precisely this success, and individuality, that makes it hard to pin down where particular

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In 1954, he and his wife left their two children (Diana aged 11 and Daniel aged 10) with Piazzolla's parents and travelled to Paris. Piazzolla was tired of tango and tried to hide his tango and bandoneon compositions from Boulanger, thinking that his destiny lay in classical music. Introducing his

430:. He spent a lot of time listening to jazz and searching for a musical style of his own beyond the realms of tango. He decided to drop the bandoneon and to dedicate himself to writing and to studying music. Between 1950 and 1954 he composed a series of works that began to develop his unique style: 378:

As time passed, Troilo began to fear that the advanced musical ideas of the young bandoneonist might undermine the style of his orchestra and make it less appealing to dancers of tango. Tensions mounted between the two bandoneonists until, in 1944, Piazzolla announced his intention to leave Troilo

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who was ill, but when Rodríguez returned to work Troilo decided to retain Piazzolla as a fourth bandoneonist. Apart from playing the bandoneon, Piazzolla also became Troilo's arranger and would occasionally play the piano for him. By 1941 he was earning a good wage, enough to pay for music lessons

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orchestra rehearse while continuing a gruelling performing schedule in the tango clubs at night. During his five years of study with Ginastera he mastered orchestration, which he later considered to be one of his strong points. In 1943 he started piano lessons with the Argentine classical pianist

618:, with "Compañia Argentina Tangolandia". Piazzolla was serving as the musical director. The tour continued in New York, Chicago and then Washington. The last show that the three of them did together was an appearance on CBS, the only colour TV channel in the US, on 1356:

Despite the prevalence of the quintet formation and the ABABC compositional structure, Piazzolla consistently experimented with other musical forms and instrumental combinations. In 1965 an album was released containing collaborations between Piazzolla and

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with lyrics by Ferrer, which was premiered at the First Iberoamerican Music Festival with Amelita Baltar, and Piazzolla himself conducting the orchestra. Piazzolla was awarded second prize and the composition would prove to be his first popular success.

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What invitation? They sent a couple of guys in black suits and a letter with my name on it that said that Videla expected me a particular day in a particular place. I have a book around someplace, with pictures of all the guests:

405:, which, although having a similar formation to other tango orchestras of the day, gave him his first opportunity to experiment with his own approach to the orchestration and musical content of tango. That same year he composed 1204:. Towards the end of the year he dissolved his sexteto and continued playing solo with classical string quartets and symphonic orchestras. He joined Anahi Carfi's Mantova String Quartet and toured Italy and Finland with them. 578:

and created a new sound akin to chamber music, without a singer and with jazz-like improvisations. This was to be a turning point in his career and a watershed in the history of tango. Piazzolla's new approach to the tango,

1423:, written in memory of Aníbal Troilo. In the 1980s Piazzolla was wealthy enough, for the first time, to become relatively autonomous artistically, and wrote some of his most ambitious multi-movement works. These included 787:

After a period of great productivity as a composer, he suffered a heart attack in 1973. That same year he moved to Italy where he began a series of recordings which would span a period of five years. The music publisher

225:, Argentina, in 1921, the only child of Vicente "Nonino" Piazzolla and Asunta Manetti. His paternal grandfather, a sailor and fisherman named Pantaleo (later Pantaleón) Piazzolla, had immigrated to Mar del Plata from 1161:, his last ensemble, with two bandoneons, piano, electric guitar, bass and cello. Together they gave a concert at the Club Italiano in Buenos Aires in April, a recording of which was issued under the title of 891:

During the period of Argentine military dictatorship from 1976 to 1983, Piazzolla lived in Italy, but returned many times to Argentina, recorded there, and on at least one occasion had lunch with the dictator

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On 11 June 1983 he put on one of the best concerts of his life when he played a program of his music at the Teatro Colón in Buenos Aires. For the occasion he regrouped the Conjunto 9 and played solo with the

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that she congratulated him and encouraged him to pursue his career in tango, recognising that this was where his talent lay. This was to prove a historic encounter and a crossroads in Piazzolla's career.

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Inspired by Vardaro's style of tango, and still only 17 years old, Piazzolla moved to Buenos Aires in 1938 where, the following year, he realized a dream when he joined the orchestra of the bandoneonist

836:, an octet made up of bandoneon, electric piano and/or acoustic piano, organ, guitar, electric bass, drums, synthesizer and violin, which was later replaced by a flute or saxophone. Later that year 1343:, with the fast sections emphasizing gritty tango rhythms and harsh, angular melodic figures and the slower sections usually making use of the string instrument in the group and/or Piazzolla's own 509:

and began to play the bandoneon while standing up, putting his right foot on a chair and the bellows of the instrument across his right thigh. Until that time bandoneonists played sitting down.

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In 1978 he formed his second Quintet, with which he would tour the world for 11 years, and which would make him world-renowned. He also returned to writing chamber music and symphonic works.

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in the title role and introduced a new style of tango, Tango Canción (in English: Song Tango). Soon after this he began a relationship with Amelita Baltar. The following year he wrote

1512:(dedicated to his father), which he recorded many times with different musicians and ensembles. Biographers estimate that Piazzolla wrote around 3,000 pieces and recorded around 500. 1322:

behavior but more often simply allows each performer in the group to assert his voice. A further technique that emphasises this sense of democracy and freedom among the musicians is

1326:, that is borrowed from jazz in concept, but in practice involves a different vocabulary of scales and rhythms that stay within the parameters of the established tango sound-world. 284:

in lower Manhattan. In 1932 Piazzolla composed his first tango, "La Catinga". The following year he took music lessons with the Hungarian classical pianist Béla Wilda, a student of

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After leaving Troilo's orchestra in the 1940s, Piazzolla led numerous ensembles beginning with the 1946 Orchestra, the 1955 Octeto Buenos Aires, the 1960 "First Quintet", the 1971

718:, later premiered in Saarbrücken, Germany in 1971. On May 19, 1970, he gave a concert with his Quinteto at the Teatro Regina in Buenos Aires in which he premiered his composition 1314:

but also central to the idea of jazz changes, predominates in most of Piazzolla's mature compositions. Another clear reference to the baroque is the often complex and virtuosic

1403:, and exploring a leaner, more fluid musical style drawing on more jazz influence, and with simpler, more continuous forms. Pieces that exemplify this new direction include 1506:(1980), as well as song-form compositions that still today are well known by the general public in his country, including "Balada para un loco" (Ballad for a madman) and 865:

in Buenos Aires, where he presented his work, “500 motivaciones”, written especially for the Conjunto Electronico, and in 1977 he played another memorable concert at the

505:, which was to give him the idea of forming his own octet on his return to Buenos Aires. He composed and recorded a series of tangos with the String Orchestra of the 310:’s sextet on the radio. Vardaro's novel interpretation of tango made a great impression on Piazzolla and years later he would become Piazzolla's violinist in his 1515:

In 1984, he appeared with his Quinteto Tango Nuevo in West-Berlin, Germany and for television in Utrecht, Netherlands. In the summer of 1985 he performed at the

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In 1936, he returned with his family to Mar del Plata, where he began to play in a variety of tango orchestras and around this time he discovered the music of

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in New York, a suite of three pieces, the last time he would record with the second Quinteto. During a tour of Japan with Milva he played at a concert at the

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in Paris on August 4, 1990, which left him in a coma, and died in Buenos Aires, just under two years later on July 4, 1992, without regaining consciousness.

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has also experimented with folk-derived, complex virtuoso compositions that show Piazzolla's structural influence while steering clear of tango sounds; and

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Having disbanded his first orchestra in 1950, he almost abandoned tango altogether, continuing to study Bartok and Stravinsky and orchestra direction with

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in his memory, a work in four parts, which he recorded with the Conjunto Electronico. At this time Piazzolla started a collaboration with the singer

1473:. As well as providing original compositions and arrangements, he was the director and bandoneon player in all of them. He also recorded the album 1265:

has acknowledged Piazzolla as perhaps the greatest influence on his globally oriented, eclectic compositions for classical and klezmer performers.

4160: 1180:’s Orquesta on June 26, 1989, a live recording at the BBC Bristol Studios in June 1989, between concerts in Berlin and Rome, and a concert at the 1196:

in the US on an album of the same name. This would be his last studio recording and was his second composition for the Kronos Quartet. His first

501:, which was to play an important role in his later tango compositions. Before leaving Paris, he heard the octet of the American jazz saxophonist 2839:

For an essay concerning Piazzolla's musical activities in New York, see David Butler Cannata, "Making it there: Piazzolla's New York Concerts",

4195: 4155: 601:; on his return to New York City a few days later, he asked to be left alone in his apartment and in less than an hour wrote his famous tango 3106: 1535: 4200: 1030: 645:). Of the many ensembles that Piazzolla set up during his career, it was the quintet formation which best expressed his approach to tango. 294: 1330:

has been particularly responsible for developing this aspect of the style both within Piazzolla's groups and since the composer's death.

390:. Piazzolla would lead Fiorentino's orchestra until 1946 and make many recordings with him, including his first two instrumental tangos, 799:, a partner in Curci-Pagani Music, had offered Piazzolla a 15-year contract in Rome to record anything he could write. His famous album 4185: 4180: 4170: 4135: 1339:

in 1959, Piazzolla established a standard structural pattern for his compositions, involving a formal pattern of fast-slow-fast-slow-

4190: 3361: 3064: 2952: 2919: 2824: 2791: 2758: 2725: 3537: 2677: 1568: 1038: 402: 204:. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic 2843:

XXVI/1 (Spring/Summer 2005), 57–87; and as translated into Spanish, "Making it there: Los Conciertos de Piazzolla en Nueva York",

4165: 3608: 2572: 326:, which would become one of the greatest tango orchestras of that time. Piazzolla was employed as a temporary replacement for 4145: 2985: 941:, and in 1995 his family received the Honour Konex Award as the most important deceased musician of the decade in Argentina. 1681: 1071:, with as a backdrop – to Piazzolla's great pleasure – the extremely zoomed-in "live"' projection of his bandoneon playing. 1165:. Later he appeared with them at the Teatro Opera in Buenos Aires in the presence of the newly elected Argentine President 3894: 3389: 3114: 4049: 48: 2069: 1102: 805:

was recorded in Milan in May 1974. Later that year he separated from Amelita Baltar and in September recorded the album

1443:, where a flutist and guitarist tell the history of tango in four chunks of music styled at thirty-year intervals; and 489:

work, Piazzolla played her a number of his classically inspired compositions, but it was not until he played his tango

288:, who taught him to play Bach on his bandoneon. In 1934 he met Carlos Gardel, one of the most important figures in the 3944: 3633: 3028: 409:, which he considered to be his first formal tango, and then began to compose musical scores for films, starting with 375:. In the same year he married his first wife, Dedé Wolff, an artist, with whom he had two children, Diana and Daniel. 3420: 2847:(Buenos Aires, 2008). For Cannata's review of the Azzi/Collier biography, see "Two books about Piazzolla: Reviews of 1963: 1541:

The Buenos Aires music conservatory "Conservatorio Superior de Música de la Ciudad de Buenos Aires" carries his name.

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and married the singer and television personality Laura Escalada on April 11. In May that year he recorded his album

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where Borges's poetry was narrated over very avant-garde music by Piazzolla including the use of dodecaphonic (

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Back in Buenos Aires later that year he put together the first, and perhaps most famous, of his quintets, the

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technique of a circulating bass line and harmonic sequence, invented and much used in 17th- and 18th-century

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were not successful. He received the news of the death of his father in October 1959 while performing with

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in London for a week-long engagement. On September 6, 1987, his quintet gave a concert in New York's

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After their return to New York City from a brief visit to Mar del Plata in 1930, the family moved to

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Raúl Spivak, which would continue for the next five years, and wrote his first classical works

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player, and arranger. His works revolutionized the traditional tango into a new style termed

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Hall in Tokyo on June 26, 1988, and that same year underwent a quadruple by-pass operation.

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issue you went to Videla's house and had lunch with him. Why did you accept that invitation?

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In 1966 he left Dedé Wolff and the following year signed a five-year contract with the poet

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He appeared at the Montreux Jazz Festival, Montreux, Switzerland, with vibraphonist

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influences reside in his compositions, but some aspects are clear. The use of the

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Guitar Festival on March 15, with the Liège Philharmonic Orchestra conducted by

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and the pianist Igor Uriash in 1990 and on July 3 he gave his last concert in

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recorded his Quinteto Tango Nuevo, playing, among other pieces, a very moving

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and an Italian orchestra, including jazz musicians such as bassist /arranger

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he won the French critics Cesar Award in Paris for best film music in 1986.

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In 1970 Piazzolla returned to Paris where with Ferrer he wrote the oratorio

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on guitar. Piazzolla made his London debut with his second Quinteto at the

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In 1985 he was named Illustrious Citizen of Buenos Aires and premiered his

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Música Popular Contemporánea de la Ciudad de Buenos Aires. Vol.1 & 2

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By the 1970s Piazzolla was living in Rome, managed by the Italian agent

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on Friday, June 9. This would be Piazzolla's last concert in Argentina.

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Hommage a Liege: Concierto para bandoneón y guitarra/Historia del Tango

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described Piazzolla as "the world's foremost composer of Tango music".

2851:, A Biography of Astor Piazzolla by Maria Azzi and Simon Collier; and 1523:, which was recorded and, in 1994, released in compact disc format as 3354:

1001 Albums You Must Hear Before You Die: Revised and Updated Edition

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conducting the St. Luke's Orchestra, in the Richardson Auditorium at

230: 1624:(in English: New Tango Quintet), a.k.a. the second Quintet, 1979–91. 1112:

in July 1986 and, on 6 September 1987, gave a concert in New York's

3107:"ASTOR PIAZZOLLA y su Quinteto Tango Nuevo -live in Utrecht (1984)" 900:(a comprehensive collection of interviews, constituting a memoir): 3593: 3412: 1319: 1272: 1034: 956: 948: 874: 761: 757: 741: 693: 647: 461: 359: 350:, had advised him to study with Ginastera; delving into scores by 234: 1618:(in English: Electronic Ensemble), a.k.a. Electronic Octet, 1975. 1486:. His numerous compositions include orchestral work such as the 1294: 1058: 342:, an eminent Argentine composer of classical music. The pianist 270: 262: 197: 3597: 3416: 1369:

harmonies and scales. In 1968 Piazzolla wrote and produced an "

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in Buenos Aires, sharing the bill with other Tango orchestras.

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Astor Piazzolla's Doble A bandoneon used in his main concerts.

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after his father spotted one in a New York pawn shop in 1929.

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Latin American Music Review/Revista de Músico Latinoamericana

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Argentine composer, bandoneon player and arranger (1921–1992)

2492:(Quinteto Tango Nuevo, 1986), Vienna, Konzerthaus, CD: 1991. 1612:(in English: Ensemble 9), a.k.a. Noneto, 1971–72 & 1983. 1184:

on June 30, 1989. On November 4, 1989, he gave a concert in

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On 4 July 1984, Piazzolla appeared with his Quinteto at the

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in Paris, with a new formation of the Conjunto Electronico.

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and join the orchestra of the tango singer and bandoneonist

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With Boulanger he studied classical composition, including

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The Rough Dancer and the Cyclical Night (Tango Apasionado)

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The Rough Dancer and the Cyclical Night (Tango Apasionado)

2428:(Conjunto 9 y Orquesta Filarmónica del Teatro Colón, 1983) 362:

and others, Piazzolla rose early each morning to hear the

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Concierto para bandoneón, orquesta, cuerdas y percusión

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There followed a concert at the Royal Carre Theatre in

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celebrated his 100th birthday on 11 March 2021 with a

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