Histoire du tango

Piazzolla, Astor

ISBN 13 : 9790230948104

Editeur : Lemoine, 1986

Synopsis

Partition pour flûte et guitareStyle : contemporainNombre de pages : 19 + 12 Niveau : 4Bordel 1900:Le tango naît à Buenos-Aires en 1882. Les premiers instruments à le jouer sont la guitare et la flûte. Par la suite, s'y ajoutent le piano puis le bandonéon. C'est une musique pleine de grâce et de vivacité: elle donne l'image de la bonne humeur, de la faconde des Françaises, des Italiennes et des Espagnoles qui vivent dans ces bordels, aguichant policiers, voleurs, marins et mauvais garçons qui leur rendent visite. Le tango est gai. Café 1930: C'est une autre époque du tango. On cesse de le danser comme en 1900 et l'on se contente désormais de l'écouter - il devient plus musical, plus romantique aussi. C'est une transformation radicale: mouvement plus lent, harmonies nouvelles, beaucoup de mélancolie. Les orchestres de tango se composent de deux violons, deux bandonéons, un piano et une basse. On chante parfois. Night-club 1960: Cette période pendant laquelle s'accroissent considérablement les échanges internationaux, voit une évolution nouvelle: le Brésil et l'Argentine se retrouvent à Buenos-Aires. Bossa nova et nouveau tango, même combat. Le public accourt dans les night-clubs pour y écouter avec sérieux le nouveau tango. Révolution, profond bouleversement de certaines formes du vieux tango. Concert d'aujourd'hui: La musique de tango rejoint, par certains concepts, la musique nouvelle. Réminiscences de Bartok, Stravinsky et quelques autres sur fond de tango. C'est le tango d'aujourd'hui, le tango de l'avenir...Contenu :Bordel 1900 - Café 1930 - Night-club 1960 - Concert d'aujourd'hui

A propos du livre

Biographie de l'auteur :

Poverty drove Piazzolla's ancestors to emigrate from their homeland, and the young Astor was born of Italian parentage in Mar dei Plata in Argentina on 11 March 1921. ln 1925 the family moved to New York to try their fortune in the big city. As Astor Piazzolla has said him- self, "It was at the lime of prohibition and the mafia... I hung around the streets more than I went to school... my musical world gradually grew up round jazz, Duke Ellington and Cab Calloway who I managed to hear at the door of the Cotton Club, although I was both too young and too poo - to go in. My father used to play the old nostalgic tangos by Carlos Gardel on the gramophone. For my ninth birthday he gave me a bandoneon (button accordion), and I had lessons with a teacher who introduced me to classical music".

ln 1937 the Piazzolla family returned to Mar dei Plata, but Astor was soon attracted more to the capital, and when only sixteen he moved to Buenos Aires, renting a small room as a lodger. He had been engaged as a bandoneon player in the band directed by Anibal Troïlo, himself a specialist on the instrument, and was thus able to pay the rent with his first tees. At the same lime he did not neglect his studies but look lessons in piano and harmony with a young teacher by the name of Alberto Ginastera, who went on to become a renowned composer.

ln 1946 Astor got his own "tipica" band together, playing nothing but tangos. It was the springboard he needed for his own development.. "I played my own arrangements, and started using triple rhythms in what had been a very four-square rhythmic pattern up to then, and experimenting with bold harmonies" His innovations, however, met with little success and the group disbanded. He renewed his studies even more enthusiastically and founded a new string orchestra - which led him right back to failure and bitter disillusionment. Still he persisted - his hard upbringing in New York had taught him to be stubborn, with an aggressive edge.

The turning point came when Astor traveled to Europe in the 1950s to study conducting with Hermann Scherchen, and met Nadia Boulanger, the famous teacher of composition in Paris. She showed him that his identity was not in intellectual music but in the tango, spiced with a touch of classical style and jazz, and molded by his own intuitive sense.

Once back in Buenos Aires he formed his first octet in 1955 and, by using what he had learned from Ginastera and Boulanger as well as phrasing borrowed from jazz, he made his tangos swing with new life. As was to be expected this caused quite a stir in the ranks of the conservative tango players, but Piazzolla was not to be deflected from his new course. From now on his tango was a distinctively modern form that he exploited with his new quintet which achieved lame with their "tango nuevo". International recognition was at last his, and concerts and recordings flowed unceasingly. From the 1960s until his death in July 1992, his success never stopped growing.

Présentation de l'éditeur :

Support - Partition

Instrumentation - Flûte et Guitare

Genre - Classique

Date de Parution - 1986

Nombre de pages - 19pp+12pp

À propos de cette édition

• Éditeur: Lemoine
• Date d'édition: 1986
• ISBN 13: 9790230948104
• Reliure: Partition
• Nombre de pages: 65