Michael Guttman Tango Ensemble

Astor Piazzolla: Triunfal Ismael Spitalnik: Bien Milonga Astor Piazzolla: Introduccion del Angel Jose Ricardo: Pobre Gallo Bataraz (arr. Horacio Salgan) 

Ricardo Luis Brignolo: Chique (arr. Astor Piazzolla) 

Eduardo Rovira: A Evaristo Carriego (arr. Chloe Pfeifffer) 

Chloe Pfeiffer: Musiquita Nocturna (after Mozart’s Eine Kleine Nachtmusik) Anápaistos (after Schumann’s Piano Quintet in E-flat major) Mano Sinistra (after Mendelssohn’s Die Hebriden) Présages (after Bach’s Prelude in E flat minor from the Well Tempered Clavier) Humo sin Fuego (after Brahms’ Symphony Nr.3) Hermano Gustavo (after Mahler’s Symphony Nr.1 “Titan”) La Revolucionaria (after Chopin’s Etude op. 10 n. 12) Valse n°2 (after Shostakovich’s Jazz Swite n°1 op 50b)

Tango emerged at the end of the 19th century in the lower-class neighbourhoods of Buenos Aires and Montevideo as a ‘melting pot’ between different cultures: the African slave culture, the European immigrant culture and the indigenous culture. Originally, the tango was performed in brothels and taverns, accompanied by simple instruments such as the guitar, violin and flute. Soon an instrument, the bandoneón, an accordion-like instrument brought to Argentina by German immigrants, became the beating heart of the tango. With its melancholic and intense sound, the bandoneón defined the sonic identity of the genre, which maintains and preserves these characteristics. In the 1920s and 1930s, tango established itself as a sophisticated art form: it was during this period that Carlos Gardel (1890-1935), the most famous tango singer, took the genre to a new level of popularity with his interpretations of tango-canción, songs characterised by poetic lyrics and poignant melodies. In the 1950s, tango underwent a revolution thanks to Argentine composer and bandoneonist Astor Piazzolla (1921-1992), who introduced the tango nuevo [New Tango]. Piazzolla combined traditional tango with influences from jazz and classical music, creating an innovative sound that expanded the boundaries of the genre. While maintaining the emotional roots of tango, this new genre explored new harmonies, rhythms and compositional structures, making it a musical experience that was as intellectual as it was emotional. Today, tango continues to evolve, embracing new influences and experimentation while remaining true to its origins. It is celebrated worldwide through festivals, theatre performances and dance competitions, and continues to inspire artists of all disciplines. Tango is not just a dance, but a musical language that speaks of love, desire, loss and nostalgia. The Argentine musician, composer and filmmaker Enrique Santos Discépolo’s (1901-1951) quote “tango is a danced sad thought” is quite eloquent.