77:: The tango originated in Buenos Aires in 1882. It was first played on the guitar and flute. Arrangements then came to include the piano, and later, the concertina. This music is full of grace and liveliness. It paints a picture of the good natured chatter of the French, Italian, and Spanish women who peopled those bordellos as they teased the policemen, thieves, sailors, and riffraff who came to see them. This is a high-spirited tango.
83:: This is another age of the tango. People stopped dancing it as they did in 1900, preferring instead simply to listen to it. It became more musical, and more romantic. This tango has undergone total transformation: the movements are slower, with new and often melancholy harmonies. Tango orchestras come to consist of two violins, two concertinas, a piano, and a bass. The tango is sometimes sung as well.
89:: This is a time of rapidly expanding international exchange, and the tango evolves again as Brazil and Argentina come together in Buenos Aires. The bossa nova and the new tango are moving to the same beat. Audiences rush to the night clubs to listen earnestly to the new tango. This marks a revolution and a profound alteration in some of the original tango forms.
34:, originally scored for flute and guitar in 1985 and published in 1986. It is one of the most famous compositions by Piazzolla and is often played with different combinations, including violin or double bass substituted for the flute, and piano, harp or marimba substituted for the guitar.
95:(Modern-Day Concert): Certain concepts in tango music become intertwined with modern music. Bartok, Stravinsky, and other composers reminisce to the tune of tango music. This today’s tango, and the tango of the future as well.
50:
to become more authentically themselves. Boulanger – doyenne of high
European art – encouraged Piazzolla not to become another European-style composer, but to apply to the tango the lessons of his study with her. Piazzolla's
203:
356:
46:
and dance halls of
Argentina into the concert halls of Europe and America. He is among the astonishingly varied group of composers who were enabled by the teaching of
70:
in four movements: Bordel 1900, Café 1930, Nightclub 1960, and
Concert d'aujourd'hui. Piazzolla provided program notes that expand on the individual movements:
210:
379:
230:
182:
with Bonita Boyd (flute) and
Nicholas Goluses (guitar), recorded at Red Creek Studio, Rochester, Spring and Summer 2009, compact disc.
55:
is his only work for flute and guitar – the instruments associated with the first flowering of the form, in Buenos Aires in 1882.
163:
126:
313:
394:
389:
196:
384:
282:
151:
155:
261:
296:
118:
67:
8:
318:
144:
219:
31:
289:
159:
122:
348:
47:
247:
340:
373:
27:
323:
275:
254:
43:
188:
18:
1985 composition by
Argentine tango composer Ástor Piazzolla
357:
The Rough Dancer and the
Cyclical Night (Tango Apasionado)
42:
It was
Piazzolla's life work to bring the tango from the
115:
Mel Bay
Presents Handbook of Guitar and Lute Composers
146:
Le Grand Tango: The Life and Music of Astor
Piazzolla
143:
112:
141:
371:
204:
211:
197:
142:Azzi, Maria Susana; Simon Collier (2000).
372:
192:
113:Annala, Hannu; Heiki Matlik (2007).
218:
13:
68:history and evolution of the tango
14:
406:
180:Song & Dances of the Americas
178:Piazzolla, Astor. Liner notes to
380:Compositions by Ástor Piazzolla
172:
135:
106:
1:
99:
37:
7:
314:Piazzolla's Orquesta Típica
10:
411:
332:
306:
239:
226:
395:Compositions for guitar
152:Oxford University Press
66:attempts to convey the
58:
390:Compositions for flute
97:
283:María de Buenos Aires
93:Concert d'aujourd'hui
72:
297:Suite Punta del Este
231:List of compositions
119:Mel Bay Publications
26:is a composition by
319:Octeto Buenos Aires
262:Estaciones Porteñas
385:1986 compositions
367:
366:
290:Milonga Del Angel
269:Histoire du Tango
64:Histoire du Tango
53:Histoire du Tango
23:Histoire du Tango
402:
349:Tango: Zero Hour
213:
206:
199:
190:
189:
183:
176:
170:
169:
149:
139:
133:
132:
110:
410:
409:
405:
404:
403:
401:
400:
399:
370:
369:
368:
363:
328:
302:
235:
222:
220:Ástor Piazzolla
217:
187:
186:
177:
173:
166:
140:
136:
129:
121:. p. 115.
111:
107:
102:
87:Nightclub, 1960
61:
48:Nadia Boulanger
40:
32:Ástor Piazzolla
19:
12:
11:
5:
408:
398:
397:
392:
387:
382:
365:
364:
362:
361:
353:
345:
336:
334:
330:
329:
327:
326:
321:
316:
310:
308:
304:
303:
301:
300:
293:
286:
279:
272:
265:
258:
251:
243:
241:
237:
236:
234:
233:
227:
224:
223:
216:
215:
208:
201:
193:
185:
184:
171:
164:
134:
127:
104:
103:
101:
98:
60:
57:
39:
36:
17:
9:
6:
4:
3:
2:
407:
396:
393:
391:
388:
386:
383:
381:
378:
377:
375:
359:
358:
354:
351:
350:
346:
343:
342:
338:
337:
335:
331:
325:
322:
320:
317:
315:
312:
311:
309:
305:
299:
298:
294:
292:
291:
287:
285:
284:
280:
278:
277:
273:
271:
270:
266:
264:
263:
259:
257:
256:
252:
250:
249:
245:
244:
242:
238:
232:
229:
228:
225:
221:
214:
209:
207:
202:
200:
195:
194:
191:
181:
175:
167:
165:9780195127775
161:
157:
153:
148:
147:
138:
130:
128:9780786658442
124:
120:
116:
109:
105:
96:
94:
90:
88:
84:
82:
78:
76:
71:
69:
65:
56:
54:
49:
45:
35:
33:
29:
25:
24:
16:
355:
347:
339:
295:
288:
281:
274:
268:
267:
260:
253:
248:Adiós Nonino
246:
240:Compositions
179:
174:
145:
137:
114:
108:
92:
91:
86:
85:
80:
79:
75:Bordel, 1900
74:
73:
63:
62:
52:
41:
22:
21:
20:
15:
333:Discography
374:Categories
324:Conjunto 9
276:Libertango
255:La Camorra
154:. p.
100:References
81:Café, 1930
38:Background
307:Ensembles
44:bordellos
30:composer
360:(1988)
352:(1986)
344:(1974)
341:Summit
162:
125:
28:tango
160:ISBN
123:ISBN
59:Form
156:239
376::
158:.
150:.
117:.
212:e
205:t
198:v
168:.
131:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.