Notes

No one doubts the infinite possibilities of the tango. It has gone through different evolutionary stages and expressive forms, from the early sets to the appearance of the bandoneon, the heyday of the typical dance orchestras, the numerous orchestras, the small ensembles, to its worldwide diffusion.

 

The evolution of the tango begins with Aquiles Roggero, Mariano Mores, Juan Carlos Cobian, and Daniel Binelli, up to the figure of Astor Piazzolla, who incorporated musical elements that were up to that moment not used.

 

Today we live in a new era of the tango: the rebirth of old styles and melodies, a flourishing avant-garde scene, and the emergence of avant-garde composers like the Finnish Jukka Tiensuu and the Argentine Alicia Terzian.

 

The Grupo Encuentros has placed tango (as an integral expression) in the rich panorama of contemporary music. The varied elements and factors of tango are summarized in this album. It is an artistic show that is musical and poetic.

 

This album begins with the tango Mimí Pinsón, which was composed by the violinist Aquiles Roggero. It is a romanza tango that highlights the inspired melodic characteristics of the work. TANGOS...AND SOMETHING MORE continues with the beautiful melody of Cristal by Mariano Mores, and Picasso written by Astor Piazzolla for bandoneon.

 

Invierno Porteõ (Winter Porteño) and Verano Porteño (Summer Porteño) are two of the “Cuatro Estaciones Porteñas” (Four Buenos Aires stations) written by Piazzolla from 1965 to 1979 and arranged by Alicia Terzian for piano trio. The arrangement respects the original concepts by Piazzolla.

 

In 1990, Alicia Terzian wrote the work Buenos Aires, you’re going to kill me, a four-movement work for piano with electroacoustic sounds and poems commissioned by the Festival Aspekte Salzburg. It contains fragments of chosen poems by the poet César Fernández Moreno. It is an original contemporary approach projected into the future with a universalist character, made with elements of popular tango that are incorporated into the music and poetry of Buenos Aires.

 

The interest that the rest of the world has in tango is remarkable, and Finland is a perfect example. From there came Jukka Tiensuu, a composer who in 1995 wrote his Tango lunar, a work conceived with essential elements of tango and full of beautifully linked suggestions.

 

In the bar as a tango is also contemporary, a work that Argentine Roque de Pedro dedicated in 1989 to the Grupo Encuentros in which random fragments move freely with others and show very marked tango rhythms.

 

Malena is one of the most famous and beautiful tangos of the 1940s, written by Lucio Demare. It was very widespread with its performance by the Aníbal Troilo orchestra. On this album it is sung by the dramatic voice of Marta Blanco.

 

The traditional rhythm of the candombe, developed more in Uruguay than in Argentina, is an essential rhythmic form. The bandoneonist and composer Daniel Binelli, who is a bandoneon soloist on the album, created a wonderful work: Call of drums. It was made on the basis of rhythms that were created by slaves in the Rio de la Plata.

 

In this way, the Grupo Encuentros introduces new forms, whether in the interpretation of known works or the presentation of contemporary works. Since its appearance a century ago, the evolution of tango has not stopped. This album shows it. — Oscar Del Priori, National Academy of Tango, Academia Porteña del Lunfardo