Before you send your child to a music school, many will be interested to read this story!
The night goes down to the quiet port city. In the poor neighborhoods of Buenos Aires, life is in full swing. From the bars you can hear the screams of riotous people, obscene whispers in dark corners and as an accompaniment to all this fuss – a bold and daring tango melody. The dance, which then – one and a half centuries ago – originated in an atmosphere of despair, a hangover and heady pleasures of brothels and bars.
It was Astor Piazzolla who was supposed to give a new life to tango, make people not dance, but listen to it, make tango sound not in taverns, but in the repertoire of symphony orchestras …
Once, his father bought him a bandoneon (a kind of harmonica). The fact is that the boy managed to contact a gang of teenagers, and it even came to the police, after which he was expelled from school. This, apparently, was the last straw for dad. Well, as it turns out later, everyone would have such shrewd fathers!
At one time, Piazzolla played his bandoneon in taverns and was ashamed of it. But that was only the beginning. He was always looking for his style, – was fond of jazz (influenced the period of his life in New York); ten years stubbornly composed sonatas and symphonies – he was interested in complex music, he wanted to keep to the classics. Teachers changed, among them, by the way, was our Sergey Rachmaninov.
A turning point in the fate of the seeker Astor was the participation in the competition of young composers. It brought a happy acquaintance with Nadia Boulanger: a grant from the French government gave him a year of study with her – one of the best teachers of the time. Nadia looked at the piles of scores and said that she saw Stravinsky, Bartok, or Ravel, but did not see Piazzolla. The composer recalled this conversation: “So what instrument do you play?” I confessed, and she asked me to play some tango bars of my own composition. And then I played my “tangential” fugue “Triunfal”. She opened her eyes, took my hand and said: “you are just an idiot, this is the real Piazzolla!” And I took all this music that I composed over these ten years and immediately sent to hell in two seconds. ” So a compromise was found – yet a return to native tango, but complicated, with the imprint of work in complex classical genres and even jazz. And, of course, again a native bandeon. Piazzolla believed in himself.
After some time, the composer creates his “Buenos Aires Octet”: he adds an electric guitar and cello to the ensemble of two bandeons, two violins, bass and piano, which is familiar to tango. Later he will create new ensembles, experiments with the composition will continue, and the audience will not immediately accept this new music, which at one moment will be called jazz rock at all. Too strong and unshakable will be in their minds the idea of tango.
During his work, Piazzolla was a member of many orchestras, worked with musicians of Glenn Miller’s orchestras, collaborated with Jerry Mulligan, created not a single collective of his own, wrote music for plays and films, wrote poetry for the no less famous Argentinean Borges, participated in competitions and took awards … But the most important thing is that he won, he won stereotypes and ideas about tango. In 1985, he became an honorary citizen of Buenos Aires. And what could be more significant for a reformer than to receive recognition from the city in which tango was born?