Four Seasons Porteños by Ástor Piazzolla

Ástor Piazzolla in 1975

Piazzolla was a virtuoso bandoneón player; this is a small Argentinean instrument descended from the concertina, in turn a “cousin” of the accordion. The concertina, a musical instrument European immigrant, evolved into the bandoneón. The difference between the accordion and both of these instruments is that the accordion has a piano-style keyboard on one end and buttons on the other, whereas the concertina and bandoneón have buttons on both ends. The bandoneón is associated with the tango, as is Ástor Piazzolla. Piazzolla had, in his lifetime, various ensembles featuring one or more bandoneóns, and wrote several works incorporating its haunting, reedy sound. He was quite prolific, and moved back and forth from the popular genres to the classical with ease and great naturalness. Early on he was encouraged by Artur Rubenstein, the great pianist, and studied with Alberto Ginastera. He also studied with Nadia Boulanger, whose students included Aaron Copland, among many, many others. Her advice to him was never forget the tango; he listened to her advice, and it is often a feature of his style.

Piazzolla is at one and the same time the quintessential Argentinean and broadly cosmopolitan. Argentina was always in his heart and soul, and yet he worked in Paris and New York City both for extended periods of time. He explored many genres, including an album with famed jazz saxophonist Gerry Mulligan. He also worked in collaboration with several literary and theatrical figures including Jorge Borges and Alberto Muñoz. It is the latter who has a direct connection with the work to be heard on this concert. In 1965 Piazzolla wrote music to accompany a new play by Muñoz, Melenita de oro which he eventually expanded into the Four Seasons Porteño. This suite was first performed in 1970. Again, there is an interesting parallel with Villa-Lobos, who wrote a series of Bachianas Brasileiras as a tribute to Bach with a Latin character. Piazzolla, on the other hand, is obviously paying some tribute to Vivaldi and his Four Seasons, although the Piazzolla has less resemblance to Vivaldi than Villa-Lobos to Bach. As Boulanger suggested, the tango as Piazzolla conceived it has remained at the core of his music, and even his music that is not a tango as such is saturated with a tangoesque quality and passion, so that it is unmistakably Argentinean and through that very fact becomes universal in its appeal.

Primavera portena By Astor Piazzolla (1921-1992), arranged by Jose Bragato. Set of performance parts and full score for piano trio (violin, violoncello, piano). Published by Tonos (German import). (TO.20036) See more info…

Astor Piazzolla: Verano Porteno and Three Other Pieces By Astor Piazzolla. Arranged by Baltazar Benitez. By Astor Piazzolla; arranged and edited by Baltazar Benitez. For Guitar (Classical). Solos. Chanterelle. Classic. Level: Intermediate-Advanced. Book. 16 pages. Published by Chanterelle. (97426) See more info…

Piazzolla Tangos The Phillip Keveren Series. By Astor Piazzolla. Arranged by Phillip Keveren. Piano Solo. Softcover. 56 pages. Published by Hal Leonard. (306870) See more info…