The angel as a symbol of the tango-dance, death and resurrection.
Without losing the romance, the violence, eroticism and devotion of
the traditional tango that he saw as empty and hollowed out, Piazzolla
renewed and modified it with elements of European art music, Argentine
folklore and jazz, and thus tango took on a new meaning and shape.
The writer Alberto Rodriguez Muñoz approached Piazzolla in 1961 with a
request to write music for his play Tango del ángel, which is about an
angel appearing in an apartment block in Buenos Aires to cleanse the
souls of its inhabitants. The titles Introducción al ángel, Milonga del
ángel, and Muerte del ángel were created. The latter, a four-part fugue
with hard, uncompromising harmonies and rhythms, impressively shows how
far Piazzolla pushed the boundaries of traditional tango.
When the play was performed in 1962, even the previously hostile
parts of the musical public in Argentina had to admit how fitting and
successful this music was and the titles, especially Milonga del ángel,
gained extraordinary popularity.
The motives of angel, Ángel, and devil, Diablo, appear in many of the
tangos composed by Astor Piazzolla: "In my story, angels and devils mix
- you have to have something in everything."
For a concert with his quintet at the Philharmonic Hall in New York
in 1965, he wrote the series of Diablo titles: the spooky Tango del diablo, the intimate Romance del diablo and the wild, lashing Vayamos al
diablo. (Presto Classical)
Muchas gracias por el post. Es una joya. Una de las mejores interpretaciones de Piazzolla que he escuchado. El Romance del diablo, por ejemplo, es para derramar lágrimas.
ResponderEliminarUn trabajo excelente.
Gracias de nuevo y saludos!