Laffratti y la Sra. Amelia Coq de Weigand. Pedro Rubbione, en Contrapunto con el Mtro. Estos comprenden, desde versiones para piano solo, para piano y guitarra, para dos pianos, para conjuntos quinteto, sexteto y septimino , hasta los arreglos para orquesta y para orquesta y canto. Esta obra consta de ocho movimientos. Cada uno de ellos presenta un programa o idea central, comprendiendo distintos momentos o etapas de la vida de Carlos Gardel.

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Polidoro A. No part of this book may be reproduced, transmitted, or archived, whether by mechanical, optical, chemical, or electronic means, without the express permission of the legal owner. All material included in this edition, whether text or musical scores is property of the author. He began his piano studies early on with Professor Luppo.

At age 13 he entered the conservatory Conservatorio Municipal, where he took harmony classes with Maestro Serrallach, music theory and solfege with Professor de Ricci, and piano with Maestro Laffratti and Mrs. Amelia Coq de Weigand. He began his career as a professional musician at 14 years of age, playing piano in the movie theater Cine Universal de Villa Devoto then a theater for silent movies. As a pianist of popular music, his career was multi-faceted, performing as a soloist or accompanist at numerous radio stations Belgrano, Excelsior, Prieto, Stentor, etc.

The Orchestras He formed his own first typical tango orchestra in , performing in that same group until Through the arrangements, he presented a new concept of style which is original and personal, yet solidly linked to the authentic roots of the genre of tango. His renovating tango style made a big impact at the time.

His second orchestra performed between and The piece is a musical caricature of the personages of Buenos Aires who are interpreted by the singer Miguel Montero. In he took his orchestra on an extended tour of Japan, traveling some 16, kilometers in 65 days, and performing in all the major cities. In a short time they began playing in various halls, clubs, and theaters throughout country, as well as on radio stations and on television.

Ella Fitzgerald, upon hearing the duo in when she happened to be performing in Buenos Aires, showed her admiration for them by coming before Mr. Music critics responded as follows. In the duo returned to the Trottoirs de Buenos Aires bar, this time filming two videos for French television and performing on the on the most important radio stations.

They also recorded their first CD for the French label Circe. They are two testimonies to the range of musical expression that was achieved by this singular piano duo, made up of two talented musicians who gave a noticeable contribution of pianistic and musical art with these interpretations. He took his arranging to a new level when he formed his first orchestra, achieving brilliant successes by presenting versions of renewed and exalted popular themes.

These include versions for solo piano, piano and guitar, two pianos, ensembles quintet, sextet, and septet , even arrangements for orchestra as well as orchestra and vocal soloist. In addition, his work covers many musical genres: tangos, waltzes, milongas, folk music, etc. The piece has eight movements.

Each of them has a theme or main motive which represents different times and stages in the life of Carlos Gardel. President of the Nation Cristina Kirchner. Another tango lover was Stravinsky. I want to bring him to New York so he can play. I only want to see him on stage at Lincoln Center making his music. I love what he does. I dream about that. I would do anything to honor that musician.

Rhythm, melody, and harmony come together as if they were one. Knowing him enriched my life. It is an obligation because I would like to contribute something of all the things that I owe in return as an appreciation of having been fortunate enough to educate myself in the orchestras, where I learned to play tango.

These contributions were what took the tango, little by little, to such a high musical level. Nowadays, it is not at all easy to belong to an orchestra, considering the fact that so few can subsist. This makes it more difficult for those who want to have careers in tango music to acquire the vast knowledge necessary for playing and interpreting it. Let us not forget that the orchestras have always been the best schools for such an apprenticeship.

It is also a great pleasure to be able to transmit and share that what I have learned, trying always not to leave anything out that is my real intention by relying on my memory which fortunately still helps me.

I never intended for my conclusions to be taken as the absolute truth, nor wanted to win something over anyone, in anything. This course just shows my position, and the ideas with which I have always worked. We will deal here with the tango in versions which, in my understanding, are genuine manifestations of itself. I love the tango because I love good music, and I got into it to learn to play it, not to change it.

If my versions and arrangements have something different about them, it is only because this is my language, and I have expressed myself through it. I will also talk about the incorporation of new contributions and changes, as long as they are authentic within the genre.

The many streams of opinion may or may not coincide with what will be said in this course. Considering the broadness of the theme and the flexibility which should govern artistic creation, other concepts may prove constructive as well.


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Curso de Tango


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