The traditional tango of the "Golden Age" into the so-called Piazzolla started down a compositional path, one that transformed It is well known that, beginning in the mid 1950s, Astor However, andĪbove all, we don't pretend to do or be part of the so-called "art Rhythms, new harmonies, melodies, timbres and forms. Renew the popular tango, to keep its essence, introduce new The only purpose of the Octeto Buenos Aires is to It would still be tango, and it would be, at the Tango that would excite and enrapture, without tiring the performer Musically, and thought that it would be also a way to feature the I had an irresistible desire to make it more elevated Wrapping itself, harmonic as well as melodic, rhythmic, andĪesthetic. Take the tango away from that monotony in which it had been Was] something that I had never seen before around tango or tangoĪs a result of this experience I had the idea ofĬreating the Octeto Buenos Aires. Was really wonderful to see their enthusiasm while they played:Įach one's individual pleasure in the improvisation, or theĮxcitement of the whole group while playing a chord. Many modern jazz ensembles, among them Gerry Mulligan's Octet. In 1954, being in Paris, I had the chance to listen to In lieu of an abstract, here is a brief excerpt of the content:
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