Tango Nuevo (New Tango) by Astor Piazzolla is the result of the merging between the spirit and the musical culture of the Argentine people and the more classic, modern and refined composing techniques, linking Piazzolla to the great European masters: a new music and a break with the almost sacred and untouchable tradition of Tango music.
Being the maker of this kind of “revolution” Piazzolla was exposed to heavy criticism by the most conservative and traditional tangueros who even accused him of “killing” the tango. “Yes, I’m a Tango foe for sure, but of the kind of Tango as they understand it. (…) If everything has changed, the music of Buenos Aires has to change as well. Many of us want Tango to change, but these people attacking me do not understand that, nor will they ever understand it. […] (Translation by Marco Beccari)
Astor Piazzolla: (b Mar del Plata, 11 March 1921; d Buenos Aires, 5 July 1992). Argentine composer, bandleader and bandoneón player. A child prodigy on the bandoneón, Piazzolla and his family emigrated to New York in 1924; in his teens he became acquainted with Gardel, for whom he worked as a tour guide, translator and occasional performer. Piazzolla returned to Buenos Aires in 1937 where he gave concerts and made tango arrangements for Aníbal Troilo, a leading bandleader; he also studied classical music with Ginastera. In 1944 Piazzolla left Troilo’s band to form the Orquesta del 46 as a vehicle for his own compositions. A symphony composed in 1954 for the Buenos Aires PO won him a scholarship to study in Paris with Boulanger, who encouraged him in the composition of tangos; the following year he resettled in Argentina and formed the Octeto Buenos Aires and, later, the Quinteto Nuevo Tango, which performed at his own club, Jamaica. Piazzolla left Argentina in 1974, settling in Paris, where he composed a concerto for bandoneón and a cello sonata for Rostropovich, among other works.
Piazzolla’s distinctive brand of tango, later called ‘nuevo tango’, initially met with resistance. Including fugue, extreme chromaticism, dissonance, elements of jazz and, at times, expanded instrumentation, it was condemned by the old-guard, including not only most tango composers and bandleaders but also Borges, whose short story El hombre de la Esquina Rosada was the basis for Piazzolla’s El tango (1969); like tango itself, Piazzolla’s work first found general approval outside Argentina, principally in France and the USA. By the 1980s, however, Piazzolla’s music was widely accepted even in his native country, where he was now seen as the saviour of tango, which during the 1950s and 60s had declined in popularity and appeal. In the late 1980s Piazzolla’s works began to be taken up by classical performers, in particular the Kronos Quartet, who commissioned Five Tango Sensations (1989). In all he composed about 750 works, including film scores for Tangos: the Exile of Gardel (1985) and Sur (1987). Shortly before his death, he was commissioned to write an opera on the life of Gardel.
Ensemble Tangueando (Flute, Bandoneon, Piano), has developed an original sound by combining the flute, ancient instrument of the tango, colorful sound of classic shades, with the bandoneon, the emblematic instrument of the Buenos Aires music, and with the piano. After a period of study and with the perspective of a continuous updating of is repertoire, it offers the most danceable pages of historical tradition, Bardi, Demare, Gardel, Pugliese, Troilo, Villoldo etc, to give us a music milongas, and the most representative pages of the Tango by Astor Piazzolla, in concert form. In recent years he has played in several milongas and concerts.
Giovanni Miszczyszyn graduated from the Conservatory “Giuseppe Verdi” in Turin under the guidance of Professor Arturo Danesin, he has increased knowledge of performance practice of the ‘700 Music, studying in parallel with the transverse flute with Barthold Kuijken and Pierre Sechet. He has participated in master classes with Aurele Nicolet, Maxence Larrieu and Jean-Pierre Rampal. Awarded in national and international competitions, he has collaborated, among others, with Nigel Rogers, Fabio Biondi, Gaetano Nasillo.
Ezio Borghese began studying the accordion at the music school founded by Professor Berto Berti. He has participated in several music competitions, both as a soloist, that in accordion duo – a category in which he won first prize at the International Competition of Lecco City in 1984, both in orchestral ensemble. Is a part of the sextet of accordionists Accordion Ensemble, overall winner in 1997, the First Prize at the XXII International Competition “Città di Castelfidardo” in the category for chamber groups.
Enrico Gianino, graduated in composition at the Conservatory “G. Verdi ” in Turin under the guidance of Silvana Di Lotti and Gilberto Bosco, studying piano with Roberto Cognazzo, Andrea Genovese, Maria Luisa Pacciani and then with Umberto Santoro, graduating brilliantly at the Conservatory” G. F. Ghedini ” of Cuneo. He plays an intense activity of accompanist working with opera singers and soloists such as Steven Mead, Ian Bousfield and Marco Pierobon. He played with Tommaso Lama, Furio Di Castri, Leveratto Piero, Roberto Regis, Aldo Mella and many others.