On this day, in 1992, we sadly lost the great Astor Piazzolla.

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Astor Piazzolla: Revolutionizing the Soul of Tango (March 11, 1921 – July 4, 1992)

Biography:
Born in Mar del Plata, Argentina, Piazzolla spent much of his childhood (1924-1937) in New York City. This exposed him early to both jazz and classical music, alongside the tango records his father played. At 8, his father gifted him a bandoneón, the iconic tango accordion, setting his destiny. Returning to Argentina as a teenager, he quickly immersed himself in Buenos Aires’ vibrant tango scene. By 17, he was playing in the orchestra of the legendary Aníbal Troilo. Seeking greater musical depth, he studied classical composition with Alberto Ginastera while playing tango at night. A pivotal moment came in 1954 when, studying in Paris with Nadia Boulanger, she heard his classical attempts and famously urged him: “Astor, your classical pieces are well written, but the true Piazzolla is in the tango. Never leave it.” He returned to Argentina with a mission: to transform tango.

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Musical Style & Harmonies:
Piazzolla shattered the conventions of Tango Tradicional. His creation, “Nuevo Tango” (New Tango), fused elements with astonishing originality:

1. Complex Harmonies: He moved far beyond simple major/minor tonality. He incorporated:
   • Jazz-influenced chords: Extended harmonies (9ths, 11ths, 13ths), altered dominants, chromaticism.
   • Dissonance & Bitonality: Clashing chords and melodies in different keys simultaneously for tension and modernity.
   • Unexpected Modulations: Sudden, dramatic shifts to distant keys.
   • Contrapuntal Texture: Intricate, interweaving melodic lines inspired by Baroque fugues (Bach was a major influence).
2. Rhythmic Innovation: While retaining the essential tango ritmo, he:
   • Fragmented and displaced accents, breaking the rigid 2×4 or 4×4 feel.
   • Incorporated complex syncopations and polyrhythms.
   • Used abrupt tempo changes and pauses for dramatic effect.
3. Formal Structure: Moved beyond the simple verse-chorus forms of traditional tango towards more complex, through-composed structures akin to classical chamber music or concertos.
4. Instrumentation: Revolutionized tango ensembles. Key formations included:
   • The “First Quintet” (1960s): Bandoneón, violin, piano, electric guitar, double bass – became his signature sound, allowing incredible rhythmic drive, harmonic richness, and contrapuntal interplay.
   • “Octeto Buenos Aires” (1950s): Two bandoneóns, two violins, viola, cello, piano, bass – aimed for a more complex, orchestral tango sound.
   • Soloist with Orchestra: Writing concertos and works for bandoneón and symphony orchestra.
   • Jazz-Tango Fusion Ensembles: Especially in later years (e.g., “Tango Zero Hour” group).

Influences:
Piazzolla was a musical sponge:

• Tango: Aníbal Troilo, Carlos Gardel, Julio De Caro, Elvino Vardaro.
• Classical: Johann Sebastian Bach (counterpoint), Igor Stravinsky (rhythm, dissonance), Béla Bartók (folk infusion, dissonance), Maurice Ravel (orchestration), Alberto Ginastera.
• Jazz: Duke Ellington, George Gershwin (encountered in NYC), swing, bebop harmonies and improvisational spirit.
• Argentine Folk Music: Subtle rhythmic and melodic inflections.

Legacy:
Piazzolla’s legacy is monumental and global:

1. Transformed Tango: Elevated tango from dancehall music to sophisticated concert music, performed in major concert halls worldwide.
2. Global Recognition: Brought Argentine music unprecedented international acclaim.
3. Genre-Bending Pioneer: A forerunner of world music fusion, influencing countless musicians across jazz, classical, rock, and electronic genres.
4. Influence on Musicians: His work is performed and revered by classical virtuosos (Yo-Yo Ma, Gidon Kremer, Daniel Barenboim), jazz artists (Gary Burton), rock musicians, and tango musicians worldwide.
5. Argentine Cultural Icon: Recognized as one of Argentina’s greatest and most influential artistic figures.
6. Enduring Popularity: His music remains incredibly popular, constantly rediscovered and reimagined.

Main Works:
Piazzolla was prolific. Key masterpieces include:

• Adiós Nonino (1959): His poignant elegy for his father, perhaps his most famous composition.
• Libertango (1974): His global breakthrough hit, embodying the energy and freedom of Nuevo Tango.
• Oblivion (1982): A hauntingly beautiful, melancholic ballad.
• Balada para un loco (1969): A groundbreaking “tango-canción” (tango song) with surrealist lyrics.
• The “Four Seasons of Buenos Aires” (1965-70, later arranged for soloist & strings): A vibrant response to Vivaldi.
• Tango Suite (For two guitars, with Sergio Assad).
• Histoire du Tango (For flute and guitar): Traces tango’s history in four movements.
• Concierto para Bandoneón “Aconcagua” (1979): His major bandoneón concerto.
• Tristezas de un Doble A (1971): Quintessential quintet work.
• Milonga del Ángel / Muerte del Ángel / Resurrección del Ángel: Powerful, evocative pieces from his “Angel Suite”.

Innovations:
Piazzolla’s innovations fundamentally reshaped music:

1. Harmonic Language: Introduced unprecedented jazz and modern classical complexity into tango harmony.
2. Rhythmic Freedom: Liberated tango rhythm from strict danceability, creating intricate, driving, and unpredictable patterns.
3. Chamber Music Approach: Transformed tango from large dance orchestras to sophisticated, contrapuntal chamber ensembles (especially the Quintet).
4. Concert Music Focus: Composed tango specifically for listening, not just dancing – concertos, suites, sonatas.
5. Bandoneón Virtuosity: Elevated the bandoneón to a solo concert instrument with unprecedented technical and expressive demands.
6. Genre Fusion: Seamlessly and organically blended tango with jazz, classical forms, counterpoint, and Argentine folk elements, creating a truly unique and universal sound.
7. Emotional Range: Expanded tango’s emotional palette far beyond nostalgia and romance to encompass profound melancholy, violent anger, ecstatic joy, and sophisticated introspection.

Astor Piazzolla died on July 4, 1992, in Buenos Aires, leaving behind a revolutionized musical landscape. His Nuevo Tango remains a powerful, living force – a testament to his genius in taking the soul of the streets and elevating it to the realm of high art, captivating audiences worldwide decades after his passing. He truly gave tango a new life and a new voice.

Astor Piazzolla: Libertango, Oblivion… | Classical & Orchestral Tribute

Astor Piazzolla: Libertango, Oblivion…
Classical & Orchestral Tribute
Tracklist:

0:00:00 Oblivion
Metamorphose String Orchestra, Pavel Lyubomudrov
Nike Hutchisson, cello

0:03:35 Libertango
Metamorphose String Orchestra, Pavel Lyubomudrov
Nike Hutchisson, cello

0:06:27 Adiós Nonino (Live)
Orchestra da Camera Fiorentina, Giuseppe Lanzetta
Mario Stefano Pietrodarchi, accordion

0:11:50 Milonga del Ángel (Live)
Orchestra da Camera Fiorentina, Giuseppe Lanzetta
Mario Stefano Pietrodarchi, accordion

0:15:16 Meditango (Live)
Orchestra da Camera Fiorentina, Giuseppe Lanzetta
Mario Stefano Pietrodarchi, accordion

0:20:48 Violentango (Live)
Orchestra da Camera Fiorentina, Giuseppe Lanzetta
Mario Stefano Pietrodarchi, accordion

0:24:16 Lo Que Vendrá
Ankordis Trio

0:27:52 Ave Maria
Ankordis Trio

0:33:30 Vuelvo Al Sur
Ankordis Trio

0:37:03 María De Buenos Aires: Alevare
Ankordis Trio

0:42:50 María De Buenos Aires: Balada Para Un Organito Loco
Ankordis Trio

0:50:32 María De Buenos Aires: Yo Soy María
Ankordis Trio

0:53:34 Cuatro Estaciones Porteñas (The Four Seasons of Buenos Aires), I. Verano Porteño (Live)
Metamorphose String Orchestra, Pavel Lyubomudrov
Mikael Samsonov, cello

0:59:34 Cuatro Estaciones Porteñas (The Four Seasons of Buenos Aires), III. Primavera Porteña (Live)
Metamorphose String Orchestra, Pavel Lyubomudrov
Mikael Samsonov, cello

1:05:01 Cuatro Estaciones Porteñas (The Four Seasons of Buenos Aires), III. Otoño Porteño (Live)
Metamorphose String Orchestra, Pavel Lyubomudrov
Mikael Samsonov, cello

1:11:58 Le Grand Tango (Live)
Metamorphose String Orchestra, Pavel Lyubomudrov
Mikael Samsonov, cello

Astor Pantaleón Piazzolla (March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as “the world’s foremost composer of Tango music”. (Source: Wikipedia)

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Astor Piazzolla: Para El Ángel

Tracklist:
0:00:00 Milonga del ángel
0:03:48 La muerte del ángel
0:05:58 Resurrecctión del ángel

4 Canciones porteñas:
0:10:55 I. Alguien le dice al tango
0:13:04 II. Jacinto chiclana
0:16:18 III. El titere
0:18:39 IV. A don nicanor paredes

Estaciones:
0:22:11 I. Primavera portena
0:26:51 II. Verano porteno
0:31:50 III. Otono porteno
0:36:14 IV. Invierno porteno

2 Tango Preludes:
0:39:58 I. Leijia’s Game, Tango
0:44:38 II. Flora’s Game, Milonga

0:53:23 El viaje
0:58:06 Milonga
1:00:09 Vuelvo al sur
1:04:28 Chiquilin de bachin
1:08:09 Michelangelo 70

Suite para piano, Op. 2:
1:11:25 I. Preludio
1:13:27 II. Siciliana
1:16:45 III. Toccata

1:19:14 Adiós nonino, Tango Rhapsody
1:30:08 Oblivion
1:34:12 Ouverture
1:39:27 Mumuki
1:47:33 Street Tango
1:52:07 Milonga for Three
1:58:37 Ausencias

6 Tangos:
2:03:13 I. Meditango
2:08:50 II. Undertango
2:13:06 III. Violentango
2:17:25 IV. Amelitango
2:21:38 V. Novitango
2:25:25 VI. Tristango

2:32:43 Piazzolla: Libertango