Who is Astor Pantaleon Piazzolla? Where did Astor Pantaleon Piazzolla originally come from? What is the function of Astor Pantaleon Piazzolla?

Piazzola, An Italian immigrant family in Argentina He was born as a child. He was born at Mar del Plata, a summer resort on the Atlantic coast, 400 kilometers from Buenos Aires. When he was two years old, his family settled in New York, he lived in the United States until 1937. His mother was a tailor and his father was a barber. Neighbor friend Rocky Marciano will later become world heavyweight boxing champion, while one bandmate will have to sit in Alcatraz, California, and another in Sing Singh, New York. But he has defended himself with his music. Who is Astor Pantaleon Piazzolla? Where did Astor Pantaleon Piazzolla originally come from? What is the function of Astor Pantaleon Piazzolla?

Who is Astor Piazzolla? Where did Aster Piazzolla come from?

At the age of 10, he became famous for playing the Bandonon, an important musical instrument of the Tango Orchestra, and in 1934 he began playing with Carlos Gardell, who was considered the king of tango singers. Piazzolla was always true to his unique style in chamber music, symphony, ballet music and tango. Four years later he moved with his family to New York – first to the village of Greenwich, then to Little Italy. He discovered tango after listening to some of his father’s recordings, and soon a friend taught him the basics of playing the bandonon, a type of accordion popular in Argentina and Uruguay. At the age of 12, he began taking lessons from Hungarian classical pianist Bella Wilder, who taught him, among other things, how to play the bach in the bandon. Wilda, a student from Rachmaniv, lived next door, and Piazzola was fascinated by the noise from her home. “My dad and I knocked on his door and when he opened it I was shocked to see his grand piano and a packet of camel cigarettes he was smoking,” Piazzola said in a lengthy interview on the Todo Tango website.

In 1938, at the age of 17, Piazzolla joined the Tango Orchestra of the Annibal Troilo and later worked as a troupe organizer. At this stage of his career, he lived two musical lives, one to master tango and the other classical music. At the suggestion of the famous pianist Arthur Rubenstein, he began working with composer Alberto Ginestera in 1941, studying sheet music by Stravinsky, Bartok and Ravel, and later taking piano lessons from Argentine keyboardist Raul Spivak.

He went to Paris on a scholarship in 1954, took lessons from the famous French instructor Nadia Bolanzer, and met Gary Mulligan there. He returned to Argentina a year later, formed an octagon to save the tango from monotony, and succeeded in establishing his own tango style. He composed more than 200 pieces for the two most famous tango assemblies of the day and became the first tango musician to perform at the University of Buenos Aires. Soon, theater companies began receiving composition orders from film and record companies. He has given concerts with musicians from the Paris Opera Orchestra String Ensemble and La Scala Opera Orchestra and has recorded over 100 recordings. The world’s most famous symphony orchestra has interpreted his Bandonian concert.

In 1953, he won a grant for his composition work with the famous French educator Nadia Bolanzer, who taught musicians from Aaron Copeland to Philippe Glass. At the time, Piazzolla had largely rejected tango and presented Bulancer with some of his classically inspired compositions. He was fascinated by her tactics but felt that there was no personal stigma attached to the work. He finally admitted that he played bandon and wrote tango.

When he returned to Argentina, he heard in Paris that he had founded the Octeto Buenos Aires, inspired by the octagon of jazz saxophonist Gary Mulligan. It was with this combination that he began writing his groundbreaking music, known as Nuevo Tango, a radical departure from the larger bands prevalent in Tango.

“When it first started with Buenos Aires Octet, that music was like Bartok and Stravinsky,” Ziegler said. “Due to a huge rejection by the media and tango listeners, he started to change and start doing something more acceptable, but he was really a contemporary composer.” Combining Baroque Counterpoint, Extended Cords and Jazz Swing, Piazzolla’s Nuevo Tango was earthy and elegant, seductive and immersive, instantly recognizable and obscure to anyone else’s music.

In 1961, composer Bandonon composed his first quintet consisting of piano, violin, electric guitar, and double bass; A combination that many experts believe is the most basic and expressive instrument for his music. He organized a second quintet in 1978 and called on Ziegler to hire him. At the moment, hearing from Piazzolla was a “great surprise” for Ziegler, who has a long history of his own as a composer and manager. The pianist asked the composer why he wanted him in the quintet, and Piazola replied that he was looking for someone who would bring him a complementary and distinctive playing style with strong improvisation skills.

“It was a huge challenge for me and for every musician because his music was really incredible but tough,” Ziegler said. He remembered a new composition by Piazzola that at first seemed almost unplayable, but was able to attract it with the composer’s enthusiasm and important work. Ziegler praised Piazzolla’s talent in Bandon, especially his ability to shape words and direct other actors in the direction he wanted to go. Ziegler, “Bandonon [büyük caz piyanistinden bahseden] It was like Oscar Peterson – huge, huge, “he said. In addition to performing with Piazzolla in the quintet, Ziegler has joined the composer in some major orchestral work, including the premiere of the Bandonon Concerto, which is an important place for the piano.

He died in Buenos Aires on July 4, 1992.

Aster Piazzolla album

* Adios Nanino (1960)

* Timpo Nuevo (1962)

* La Guardia Vieja (1966)

* Ion Studio (1968)

* Maria de Buenos Aires (1968)

* Rome (1972)

Libertango (1974)

* Reunion Cambre (Summit) (1974) with Gary Mulligan

With Amelita Balter (1974)

* Buenos Aires (1976)

* Il Plut sur Santiago (1976)

* Suite Punta del Este (1982)

* Concerto de Nácar (1983)

* SWF Rundfunkorchester (1983)

* Live in Vienna Volume 1 (1984)

* Enrico IV (1984)

Green Studio (1984)

Tetro Nazionale de Milano (1984)

* El Exilio de Gardel (Soundtrack, 1985)

* Tango: Zero Hour (1986)

* The New Tango (1987) with Gary Burton

* Sur (1988)

* La Camora (1989)

* Hommage a Liège: Concerto para bandoneon y guitarra / Historia del Tango (1988) with Leège Philharmonic Orchestra under Leo Brouwer.

* Bandonon Synphonico (1990)

* The Rough Dancer and the Cyclic Night (Tango Apacionado) (1991)

* Cronos quartet with five tango sensations (1991)

* Original Tangos from Argentina (1992)

* Central Park Concert 1987 (1994)

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