Piazzola - Histoire du Tango
Bordel 1900
This lively and optimistic opening to Piazzolla's four-part collage of the tango is possibly the strongest of the movements. The taps from the piano are always a surprising in what is otherwise quite a conventional piece both harmonically and structurally. The arrangement for soprano saxophone and piano is very powerful and quite a departure from the usual flute and guitar combination. The tendency is for everything to become over romanticised and become expansive rather than intimate. Simply considering the titles of the movements suggests something quite small scale. Bordels, cafes and even nightclubs are not usually large spaces, at least not compared to the concert hall.
Cafe 1930
This doleful and ponderous movement has quite a deep sadness to it. In Argentina the 1930s are known as the Década Infame or 'Infamous Decade', because of the political and economic scandals of the time with show trials and coups. It was a time of great turmoil and perhaps this is reflected in the deeply thoughtful melodies in this movement.
Nightclub 1960
There are odd slaps or percussive sounds required from the saxophone in this movement and it's unclear precisely what is desired. The tango here is at its most vigorous and tempestuous. We are now a long way from the Bordel at the turn of century so here there is a great lament.
Concert d'aujourd'hui
Here the harmony is twisted beyond the usual parameters, Piazzolla taking hold of the music and implanting the European modernism he learned from Boulanger and others. The rhythmic patterns are still intact, but the language is very stretched and the level of dissonance and panic is expanded. The resolutions are in line with the tensions in that they don't actually resolve fully. A spectacular piece.
This lively and optimistic opening to Piazzolla's four-part collage of the tango is possibly the strongest of the movements. The taps from the piano are always a surprising in what is otherwise quite a conventional piece both harmonically and structurally. The arrangement for soprano saxophone and piano is very powerful and quite a departure from the usual flute and guitar combination. The tendency is for everything to become over romanticised and become expansive rather than intimate. Simply considering the titles of the movements suggests something quite small scale. Bordels, cafes and even nightclubs are not usually large spaces, at least not compared to the concert hall.
Cafe 1930
This doleful and ponderous movement has quite a deep sadness to it. In Argentina the 1930s are known as the Década Infame or 'Infamous Decade', because of the political and economic scandals of the time with show trials and coups. It was a time of great turmoil and perhaps this is reflected in the deeply thoughtful melodies in this movement.
Nightclub 1960
There are odd slaps or percussive sounds required from the saxophone in this movement and it's unclear precisely what is desired. The tango here is at its most vigorous and tempestuous. We are now a long way from the Bordel at the turn of century so here there is a great lament.
Concert d'aujourd'hui
Here the harmony is twisted beyond the usual parameters, Piazzolla taking hold of the music and implanting the European modernism he learned from Boulanger and others. The rhythmic patterns are still intact, but the language is very stretched and the level of dissonance and panic is expanded. The resolutions are in line with the tensions in that they don't actually resolve fully. A spectacular piece.