Only the human being can decodify the musical message.

Presentación del tema: "Only the human being can decodify the musical message."— Transcripción de la presentación:

1 Only the human being can decodify the musical message.
Its content may not mean the same to different people, but all respond either with joy or sadness, with laugh or tears, with excitement or depression, with drive, fear or passion, and few, very few, even with indifference. by Max E.Valentinuzzi Minneapolis-Rochester, MN, Oct 6,13,17/2007

2 THE ARGENTINE TANGO IS NO EXCEPTION, FOR IT CARRIES,
1-A MUSICAL MESSAGE; 2-A BODY MESSAGE IN ITS SENSUAL DANCE; AND 3-A POETIC MESSAGE IN ITS LYRICS, OFTEN TELLING THE MISFORTUNES OF FRUSTRATED LOVING MEN AND WOMEN.

3 Someone said: “Tango is a short-lived love affair … quite often, it is also the vertical expression of a mostly unfulfilled horizontal desire.”

4 1-ATANICHE 2-DON JUAN 3-EL CHOCLO 4-JULIÁN 5-EL LLORÓN 6-ALMA DE BOHEMIO 7-RECUERDO 8-SENDA FLORIDA 9-UNO 10-TAQUITO MILITAR 11-EL FIRULETE 12-RESPONSO 13-TANGO TRISTE 14-YUYO VERDE 15-NARANJO EN FLOR 16-DANZARÍN 17-PAYADORA 18-AZUL NOCHE 19-LA BORDONA 20-LOS MAREADOS 21-PORQUE AMO A BUENOS AIRES 22-CONTRATIEMPO 23-PARA LUCIRSE 24-LO QUE VENDRÁ 25-MARRÓN Y AZUL 26-ADIOS NONINO 27-LA MUERTE DEL ÁNGEL 28-VERANO PORTEÑO 29-OTOÑO PORTEÑO 30-ALMA, CORAZÓN Y VIDA (Peruvian Waltz)

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6 Tango, Milonga and the Argentine Vals,
The exact origins of the Tango are not clear, but it does go back well over 100 years, beginning just at the end of the 19th Century. Tango evolved in Buenos Aires, Argentina, and in Montevideo, Uruguay. In time, it would go from the brothels to the elite ballrooms of Europe and to New York in the 1920s. It has been steadily growing into the 21st Century, more popular than ever. While no one has yet been able to specifically trace the origin of the Tango, one thing is certain, the Tango was made by Immigrants to Argentina and to Uruguay. Even the bandoneón is an immigrant, having been invented in Germany by Heinrich Band (ergo bandoneón) and sent to Argentina. Three major types of music fall under the general family of Argentine Tango: Tango, Milonga and the Argentine Vals, with several subsets.

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8 THEY USUALLY CAME FROM THE OUTSKIRTS OF THE CITY, NOT EDUCATED.
THERE WERE DEFINITE INFLUENCES FROM THE AFRICAN CANDOMBE AND THE CUBAN HABANERA PLUS INGREDIENTS OF THE STRONG ITALIAN IMMIGRATION OF THE 1880´s AND 1990´s IN ARGENTINA. THE PEOPLE ASSOCIATED WITH TANGO WERE NOT DESIRABLE NOR WELL CONSIDERED. THEY USUALLY CAME FROM THE OUTSKIRTS OF THE CITY, NOT EDUCATED. PROSTITUTES, PIMPS, OUTLAWS AND ALCOHOL WERE CURRENT.

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10 Tango came out of the Enramadas and Quilombos and the low cafes of Buenos Aires and Montevideo.
Candombes were originally religious gatherings held by the black people, with much dancing to the rhythm of the tang drums. Whites thought the dancing to be immoral. Today, the candombe is a distinctive musical style very much identified with Uruguay, in the same way the Samba identifies Brazil and the rumba, mambo and son identify Cuba. Participants used the word tang for everything, the dance itself, the drums used, and even the places where these rituals were carried out. It should be noted that Montevideo and Buenos Aires are both located on opposite shores at the mouth of the Rio de la Plata. The original Candombe rhythms were heard in both cities and the tango was, and still is, a part of both cultures.

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13 SEVERAL PERIODS CAN BE DISTINGUISHED:
: LA GUARDIA VIEJA (The Old Guard) : LA GUARDIA NUEVA (The New Guard), sometimes referred to as The Golden Years of Tango, when singers entered into scene; also called the Tango Canción Era : POST - GUARDIA NUEVA (The New Post-Guard) or The Generation of the 40's, or the TANGO DE ORQUESTA TÍPICA (Typical Band). Some became QUASI-SYMPHONIC BANDS (ca 1950 and after, as that of MARIANITO MORES). present: EL NUEVO TANGO (The New Tango) ASTOR PIAZZOLA ( )

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15 GUARDIA VIEJA: The instrumental groups were small (duets, trios and quartets). Tempo was briskly and faster than today's. Violin, guitar and flute predominated. The bandoneón appeared later. Tango was still set in the old arrabales, where 'disreputable' men could often be seen dancing with each other in the streets as practice before visiting a tavern or a brothel. These old tangueros enjoyed notoriety as dangerous, picaresque, morally and sexually debased.

16 Street musicians of the early 1920’s The bandoneón is already there.
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17 ATANICHE DON JUAN EL CHOCLO JULIÁN EL LLORÓN ALMA DE BOHEMIO

18 ATANICHE (Che, ANITA, all the way around), tango
by Ernesto Ponzio (el Pibe Ernesto), A passional event led him to jail for 15 years, reappearing in 1932 during the Mardi Gras Festivities with the typical band of a guy named Juan Carlos Bazán. Some people contend that ATANICHE is anonymous, very popular around 1900. Roberto Firpo and Ernesto Ponzio took it for their repertoires until the latter decided to publish it as his. In it was recorded by Roberto Firpo under the title Los Guevara, putting his name as author.

19 Dedicated to Don Juan Cabello,
His most famous tango, Don Juan, would have been composed, without lyrics, in If so, Ponzio would have been only 13 years old. Played for the first time at “Lo de Hansen”, a dancing place, located at the intersection of Sarmiento and Figueroa Alcorta Avenues, the center of Palermo Park, and very close to where the American Embassy is now. Dedicated to Don Juan Cabello, a night customer.

20 “LO DE HANSEN” SARMIENTO Y FIGUEROA ALCORTA PALERMO

21 Poet, composer, actor and theater author (27 March 1901–23 Dec 1951)
EL CHOCLO (1903) Music: Angel Villoldo; Lyrics: Enrique Santos Discèpolo (1947) On November 3, 1905, the upper class clientele of the exclusive Restaurante Americano gathered as usual to listen to pianist Jose Luis Roncallo and his orchestra. A few days earlier, Angel Villoldo had shown to Roncallo the melody of a tango he had composed. Roncallo fretted at the idea of playing a tango for the "creme-de-la creme" of Buenos Aires society. Yet, the sound of the unnamed tune was so compelling that Roncallo decided to sneak it as a "danza criolla". And so he did on that evening of November 3, Villoldo named it El Choclo because for me the choclo is the tastiest ingredient of the 'puchero‘. The "puchero" reference reflected Villoldo's hope that the success of the tango would bring food to his table. To earn a living was commonly referred to as earning the "puchero." Poet, composer, actor and theater author (27 March 1901–23 Dec 1951)

22 ANGEL VILLOLDO

23 Con este tango que es burlón y compadrito  se ató dos alas la ambicion de mi suburbio;  con este tango nació el tango y como un grito  salió del sórdido barrial buscando el cielo;  conjuro extraño de un amor hecho cadencia  que abrió caminos sin más luz que la esperanza,  mezcla de rabia, de dolor, de fe, de ausencia  llorando en la inocencia de un ritmo juguetón.  Por tu milagro de notas agoreras,  nacieron sin pensarlo, las paicas y las grelas, luna en los charcos, canyengue en las caderas,  y un ansia fiera en la manera de querer...  Al evocarte... tango querido. siento que tiemblan las baldosas de un bailongo y oigo el rezongo de mi pasado ...  Hoy que no tengo... más a mi madre... siento que llega en punta'e pie para besarme  cuando tu canto nace al son de un bandoneón.

24 Carancanfunfa se hizo al mar con tu bandera  y en un pernó mezcló a París con Puente Alsina. Fuiste compadre del gavión y de la mina y hasta comadre del bacán y la pebeta.  Por vos shusheta, cana, reo y mishiadura se hicieron voces al nacer con tu destino, misa de faldas, querosén, tajo y cuchillo,  que ardió en los conventillos y ardió en mi corazón. Bacán: a wealthy man or one who pretends to be wealthy. A man who keeps a woman. Cana: the police, a policeman or the jail. Canyengue: It refers to somebody or something from the slums. It also describes a gathering where people from the slums dance. It is also a certain way to perform or dance the tango. Finally, it is a rhytmic effect created by Leopoldo Thompson by hitting the string of the contrabass with the hand or the arch of the bow. Carancanfunfa: the dance of tango with interruptions (cortes) and also those who dance it that way. Gavion: lunfardo for a libertine man who seduces women. Grelas: lunfardo for woman. Mishiadura: lunfardo for poverty. Mina: woman. Paicas: woman Pebeta: young woman or girl. Reo: unemployed and reticent to work. Typical of people of lower class status. Shusheta: a person who takes excessive care of his attire. Also a police informant.

25 Edgardo Donato (1897–1963) & José Panizza
Julián (1922) Edgardo Donato (1897–1963) & José Panizza Donato´s first tango, dedicated to Julián González, a drum player in Montevideo. Edgardo, violinist, used to say jokingly that Julian was really ugly. Donato tried to sell this tango for 20 old pesos (1 dollar = 1.80 old pesos), but could not, until 2 years later it was very successfully interpreted and recorded by Rosita Quiroga, in Buenos Aires. ¿Por qué me dejaste, Why did you leave me, mi lindo Julián? my beautiful Julian? Tu nena se muere your (poor) gal is dying de pena y afán of pain and desire ...

26 April 14 1897 – February 15 1963

27 EL LLORÓN (The crier or weeper) ca 1890
Lyrics: Enrique Cadícamo; Music: Ambrosio Radrizzani (?) Juan Maglio (Pacho) took it as anonimous and played it with great success at La Paloma Café, in the Palermo area, in Buenos Aires. Yo ... soy pa' el amor muy blando y a la mujer pa' conquistarla yo le hago ver de cuando en cuando que hay que llorar pa' enamorarla ... I’m ... for love too soft (and easy) and if a gal, I am to conquer, I make her see every now and then, you have to cry, to make her love you ...

28 music by Roberto Firpo and lyrics by Juan Andrés Caruso
Alma de Bohemio (1914) composed for the theater play of similar name presented by a famous actor, Florencio Parravicini, in the Teatro Argentino, at Bartolomé Mitre Street, downtown Buenos Aires. music by Roberto Firpo and lyrics by Juan Andrés Caruso Peregrino y soñador, cantar quiero mi fantasía y la loca poesía que hay en mi corazón, y lleno de amor y de alegría, volcaré mi canción.

29 (10 May June 1969) Pianist, composer and director of a well reputed quartet (piano, bandoneon and two violins) Alma de Bohemio was an early anticipation of a musically more elaborated tango, even its lyrics had a more romantic touch.

30 RECUERDO 1924

31 Pianist, director, composer. (Dec 2, 1905 – July 25, 1995)

32 Alma de Bohemia (1914) was a vanguard tango, by its melodic structure and musical density.
Recuerdo (1924) is of a similar quality or species, marking an inflexion point in tango creativeness. Played in public for the first time by Juan Fava’s quartet, at Mitre café, in the traditional Villa Crespo quartier of Buenos Aires City.

33 Only years later this composition was registered under his name.
Osvaldo’s father, Adolfo, appeared as author in the first printed editions, probably because Osvaldo was still under age (he was 19) and intellectual property was then not properly regulated in Argentina. Only years later this composition was registered under his name.

34 (Flowered path) Words by E.Cardenas - Music by Rafael Rossi
Senda florida (Flowered path) Words by E.Cardenas - Music by Rafael Rossi Rafael Rossi began the study of the bandoneon at an early age. He was only 24 years old when he began playing with celebrated orchestras, such as Juan Maglio, Canaro, Firpo and De Leone. He was also a prolific composer of tangos, some of which, for instance, Primero yo and Como abrazao a un rencor, were brought to success by Carlos Gardel.

35 -UNO -TAQUITO MILITAR -EL FILURETE

36 Mariano Mores (true name Mariano Martínez), born in Buenos Aires, 18 February 1922, barrio de San Telmo, has a distinctive lead in popularity over other contemporary artists. He is a pianist with a grand style and author of many compositions that are now classics of the Tango repertoire, such as: Cuartito Azul (1939), his first tango En esta tarde gris (1941) Grisel (1942) Uno (1943), con Enrique Santos Discépolo Cristal(1944), con Enrique Cadícamo Adiós, Pampa mía (1945) Sin palabras (1946), con Enrique Santos Discépolo Cafetín de Buenos Aires (1948) con José María Contursi Una lágrima tuya (1949), con Homero Manzi El Patio de la Morocha (1951) Taquito militar (1952) La Calesita (1953), con Cátulo Castillo El firulete (1958) Por qué la quise tanto (1961) and many others … He recorded his first tango in 1954 with a symphonic orchestra and his career never stopped ever since. His compositions are still recorded by others. The musical arrangements of his own recordings are characteristic, enriched and often overemphasized with singularities: syncopations, silences and his personal style of musical ornaments.

37 Fotos                             Mores y una de las parejas de bailarines que lo acompañan en su nuevo espectáculo

38 -RESPONSO -TANGO TRISTE

39 El Bandoneón Mayor de Buenos Aires
ANIBAL TROILO El Bandoneón Mayor de Buenos Aires (The Greatest Buenos Aires’ Bandoneon) (11/07/1914)- (18/05/1975). His body of work encompasses great creations but it also includes interpretations which constitute hits from Buenos Aires city music. "Gordo Pichuco" represents a piece of history not only of tango but of this city nigth's life. -Responso (1963) -Tango Triste (1943)

40 Lyrics: Homero Expósito; Music: Domingo Federico
Yuyo Verde (1944) Lyrics: Homero Expósito; Music: Domingo Federico Callejón, callejón (alley) lejano, lejano... íbamos perdidos de la mano bajo un cielo de verano soñando en vano... Un farol, un portón igual que un tango y los dos perdidos de la mano bajo el cielo de verano que partió...

41 Reunion in 1961: Caló, Pontier, Federico, Francini.
Member of the glorious 1940 decade, Domingo Federico died April 7, He was 83 years old. Reunion in 1961: Caló, Pontier, Federico, Francini. Talented bandoneonist, exquisite director, he gave up being a medical doctor by the end of the 1930's. He was born in 1916. He took bandoneon lessons from Pedro Maffia at the same time as he studied physiology with Bernardo Houssay. Homero Exposito wrote the lyrics for many of his famous tangos, 'Percal', 'Yo soy el tango', 'Yuyo verde', 'Tristezas de la calle Corrientes'. He became independent in the 1940's and formed his own orchestra. His music was soft, very elegant and beautiful for dancing.

42 Naranjo en flor, 1944, Virgilio and Homero Expósito
Era más blanda que el agua, que el agua blanda, era más fresca que el río, naranjo en flor. Y en esa calle de estío, calle perdida, dejó un pedazo de vida y se marchó... Primero hay que saber sufrir, después amar, después partir y al fin andar sin pensamiento... Perfume de naranjo en flor, promesas vanas de un amor que se escaparon con el viento. Después...¿qué importa el después? Toda mi vida es el ayer que me detiene en el pasado, eterna y vieja juventud que me ha dejado acobardado como un pájaro sin luz. Pianist and composer (3 May 1924 – 25 Oct 1997) Virgilio Hugo Expósito Prolific author, when he was 14, he composed Maquillaje, and a few years later, Naranjo en Flor, both with lyrics written by his brother Homero.

43 -DANZARÍN -PAYADORA (milonga)
from the Generation of the 1955’s

44 pianist, bandoneonist, composer, arranger (9 July 1928-19 April 2003)
Julián Plaza pianist, bandoneonist, composer, arranger (9 July April 2003) Played with the best tango orchestras of Argentina (Edgardo Donato, Miguel Caló, Carlos Di Sarli, Osvaldo Pugliese, Aníbal Troilo, Astor Piazzola) and organized the Sexteto Mayor. His tangos and milongas have a distinct seal. Danzarín is probably his best creation followed by Sensiblero, Melancólico, Nostálgico, Disonante and Payadora.

45 AZUL NOCHE 1971

46 Osvaldo PIRO (1936) Artistic godson of Aníbal Troilo (who left him his bandoneón) and of the poet Cátulo Castillo, Osvaldo Piro became one of the youngest tango directors. The intersection of Florida and Corrientes, a traditional porteño spot, was named after him in He has shared podiums with the best artists: Maximiliano Guerra, Osvaldo Pugliese, Lalo Schifrin, Horacio Salgán, Aníbal Troilo, Leopoldo Federico, Pedro Vargas, Juan Carlos Copes, Jairo, Julio Bocca, Sandro, Alberto Cortez, Susana Rinaldi, Roberto Goyeneche, Eladia Blázquez, Adriana Varela, Eleonora Cassano, Armando Manzanero, Joaquín Sabina, Hugo Marcel, Julián Plaza, Valeria Lynch, Patricia Sosa, Alejandro Lerner …

47 propia orquesta.                                                                                                        Orquesta Osvaldo

48 -LA BORDONA 1965

49 Emilio Balcarce: 88 years for talent The first instrument he played was the mandolin from his birth-home. Soon, he played the violin, which characterized a great part of his career. In the last years, he took the bandoneon between his hands and, due to his talent, those who don't know about his past with the violin might think there were no other instrument before. La Transa, Bien Compadre, De Contrapunto, La Bordona, may be his most popular themes, are precious pearls in the repertory of the orchestra he conducts.

50 Pianist, director, composer (31 May 1896 – 10 Dec 1953)
Los mareados Tango 1942 Lyrics: Enrique Cadícamo ( ) Poet, writer Music: JC Cobián Pianist, director, composer (31 May 1896 – 10 Dec 1953)

51 PORQUE AMO A BUENOS AIRES
Eladia Blázquez: Pianist, guitarist, composer, author, singer (24 Feb Aug 2005) She created a new tango canción, perhaps with castings somewhat unexpected and with great ability to combine words and musical notes. Her public impact was large and well-spread, even abroad.

52 Astor Piazzola Contratiempo Para lucirse Lo que vendrá Marrón y azul
Adios Nonino Milonga en Ay menor La muerte del ángel Verano porteño Otoño porteño

53 Astor Pantaleón Piazzolla Bandoneonista, pianista, director, compositor y arreglador. (11 de marzo de 1921 – 4 de julio de 1992)

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57 Piazzolla started his musical career in Buenos Aires in 1938, after spending his childhood in the USA. He had a high level music education (for example, he studied in Paris with Nadia Boulanger) and was very much rejected in Argentina; however, he gained recognition and respect, first abroad, and later on, in his native country.

58 Carlos Gardel spoke from the studios of RCA Victor on March 20, 1935, where he was recording the songs for his movie “EL DÍA QUE ME QUIERAS“. He talked also of an upcoming tour to Puerto Rico, Venezuela, Colombia, Panama, Cuba and Mexico. During this tour, Gardel died in a plane crash at Medellín Airport, in Colombia, on June 24, 1935.

59 RUE DU CANNON d´ARCOLE BOULEVARD LASCROSSÉS

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63 ALMA CORAZÓN Y VIDA Vals peruano Adrian Flores Recuerdo aquella vez que yo te conocí, recuerdo aquella tarde pero no me acuerdo ni como te vi. Pero sí te diré, que yo me enamoré, de esos tus lindos ojos y tus labios rojos que no olvidaré. Oye esta canción que lleva: alma corazón y vida, estas tres cositas nada más te doy. Porque no tengo fortuna, estas tres cosas te ofrezco: alma, corazón y vida y nada más. Alma para conquistarte, corazón para quererte, y vida para vivirla junto a tí

64 WITH LOVE AND RECOGNITION,
TO ALL OF YOU, FROM MAX VAL

65 LEFT: NATALIA VILLANUEVA, PLAYING THE MAN, DANCING TANGO WITH A DOLL
LEFT: NATALIA VILLANUEVA, PLAYING THE MAN, DANCING TANGO WITH A DOLL. BELOW: MAX VALENTINUZZI PLAYING TANGO ON A PIANO.