Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor

189 Pages·2017·3.05 MB·English

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Dissertations
Spring 5-2008
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Alejandro Marcelo Drago
University of Southern Mississippi
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Drago, Alejandro Marcelo, "Instrumental Tango Idioms in the Symphonic Works and Orchestral
Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective"
(2008). Dissertations. 1107.
https://aquila.usm.edu/dissertations/1107
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The University of Southern Mississippi
INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND
ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA.
PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S
PERSPECTIVE
by
Alejandro Marcelo Drago
A Dissertation
Submitted to the Graduate Studies Office
of The University of Southern Mississippi
in Partial Fulfillment of the Requirements
for the Degree of Doctor of Musical Arts
Approved:
May 2008
COPYRIGHT BY
ALEJANDRO MARCELO DRAGO
2008
The University of Southern Mississippi
INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND
ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA.
PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S
PERSPECTIVE
by
Alejandro Marcelo Drago
Abstract of a Dissertation
Submitted to the Graduate Studies Office
of The University of Southern Mississippi
in Partial Fulfillment of the Requirements
for the Degree of Doctor of Musical Arts
May 2008
ABSTRACT
INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND
ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA.
PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S
PERSPECTIVE
by Alejandro Marcelo Drago
May 2008
Tango performance practices and notational conventions included in the
orchestral works of Astor Piazzolla belong in two groups. The first is tango
performance manner, or the specific way of rendering the written musical text;
and the second is tango special effects, which could be defined as a group of
non-traditional (for European music) instrumental techniques specific to tango
music. Both groups are part of a performance style that has been poorly
systematized, if at all, and kept alive only by means of face-to-face transmission.
The purpose of this dissertation is to identify and analyze the challenges that
Piazzolla faced while including these performance practices into his symphonic
compositions, as well as to provide the orchestral conductor with the basic
elements for a successful approach to performance.
TABLE OF CONTENTS
ABSTRACT ii
LIST OF ILLUSTRATIONS vi
LIST OF MUSIC EXAMPLES vii
TERMINOLOGY xii
CHAPTER
I. INTRODUCTION 1
II. AN INTRODUCTION TO ARGENTINE TANGO (FROM ITS
Beginnings TO 1955) 6
Etymology of the word
Historical antecedents of tango
Demography and tango
The route to social acceptance
The bandoneon
III. PIAZZOLLA: THE MAN AND THE ARTIST 20
Biography
Piazzolla as composer and performer
Piazzolla as innovator and his place in the history of tango
Piazzolla and the bandoneon school
A history of Piazzolla's ensembles
The problem of musical notation in Piazzolla
IV. TANGO MANNER OF PERFORMANCE AND RHYTHMIC
PATTERNS OF NUEVO TANGO 57
Elements of tango articulation
Note preparation and cromatico pick-ups
Rhythm, meter and time signature in Piazzolla
Yumba
Ornamentation and rubato
V. TANGO SPECIAL EFFECTS 125
Yeites and Piazzolla - Introduction
Lija or Chicharra
Latigo
IV
Tambor (Drum)
Octaving - Octavado, also Ciriaco Octave
Other special tango effects
VI. SUMMARY 167
BIBLIOGRAPHY 169
v
LIST OF ILLUSTRATIONS
Figure
1. The bandoneon 19
2. Classical approach to the string 60
3. Tango vertical attack 61
4. Alteration of bow angle (A and B: initial and final positions) 62
5. "Digging" effect with subsequent cut-off 62
6. Bandoneon: Left hand buttons 109
7. The chromatic scale in the right hand of the bandoneon, opening 112
8. Optimal Lija spot 131
vi
LIST OF MUSIC EXAMPLES
Table
1. Horacio Salgan. Don Agustin Bardi- beginning. Piano reduction 63
2. Invierno Porteno - mm. 69 - 71. Realization of arrastre by means of the
orchestration 64
3. Long-short paired notes 66
4. Paired notes and their realization. A) Danzarin, by Julian Plaza. B) Bahia
Blanca, by Carlos Di Sarli, C) Decarisimo, by Astor Piazzolla 67
5. Fuga y Misterio - beginning. A: Two notes up-bow. B: retake 68
6. Concerto for bandoneon and orchestra. 2nd mov., mm. 105 - 106. Solo
part as published 69
7. Concerto for bandoneon and orchestra. 2nd mov., mm. 105 - 106.
Descriptive notation after author's own performance 69
8. Adios Nonino - m. 43-48. Arrangement by Jose Bragato 71
9. Adios Nonino - m. 43 - 48. Arrangement by Jose Bragato. Alternative
"classical" bowing 72
10. Buenos Aires Hora Cero- mm. 1 - 5 74
11. Tangazo - double bass, mm. 274-276 75
12. Invierno Porteno, Coda 75
13. Melancolico Buenos Aires - beginning 76
14. Double Concerto for bandoneon, guitar and string orchestra - Third
Movement - mm. 97 - 100. Double bass part. © Editions Henry Lemoine,
Paris 1985 76
15. Revirado - arr. for solo violin, strings and piano by A. Drago - mm. 24 -
27 77
16. Ex. 16 - A) Invierno Porteno, mm. 96 - 98 (version for piano trio by J.
Bragato.) B) Revirado- beginning. C1) Melancolico Buenos Aires, mm.
41 -42. C2) Ibid. mm. 34-35 78
VII
17. Verano Porteno - mm. 1-4. Arr. by Jose Bragato A: for piano trio. B: for
string orchestra 80
18. Verano Porteno- mm. 1 -4. Piazzolla's performance 80
19. Concerto for bandoneon and orchestra. 1st mov., mm 114-115 81
20. Concerto for bandoneon and orchestra. A) 1st mov., m. 132. B) 2nd mov.,
m. 44 82
21. Polymeter [332]~4/4 83
22. Polymeter [333322]~2x4/4 83
23. Polymeter [333322]~2x4/4, with hidden [332] meter 83
24. Escualo - main subject 84
25. Escualo - expected continuation 85
26. Escualo- mm. 35-41 85
27. Primavera Portena, m. 40. Arrangement for violin and chamber orchestra
by A. Drago corresponding to 1'09" of the Regina Theater recording by
Piazzolla and his Quintet 86
28. Primavera Portena, m. 113. Arrangement for violin and chamber orchestra
by A. Drago corresponding to 3'58" of the Regina Theater recording by
Piazzolla and his Quintet 87
29. Sinfonietta, 3rd mov., mm. 94 - 98 88
30. Sinfonietta, 3rd mov., piano motive, mm. 131 - 132 88
31. Sinfonietta, 3rd mov., mm. 210-211 89
32. Sinfonietta, 3rd mov., m. 231. Metric transformation 90
33. Contemplacion y Danza - mm. 45 - 55 91
34. Tangazo- m. 68. Fugal subject 92
35. Tangazo-m. 211 92
36. Tres Tangos para Bandoneon y Orquesta - no. 1 - m. 119 - 122 95
viii