All
the works gathered in this anthology have one thing in common: the rhythmic cell
of the “ritmo tango.” The cross-pollination of the ritmo tango with
European dances spawned several musical/choreographic species in America. Habaneras,
maxixes, candombes, cifras, estilos, milongas and Spanish tangos are
some of the musical styles that coexisted in the Rio de la Plata region during
the last decades of the nineteenth century, at a time when the tango
rioplatense was consolidating itself as a new cultural expression, while
still preserving the marked characteristics of its racially mixed origin.
Perhaps the tango’s original sin was its popular origin, at a time when the
established cultural view associated the popular with the uncultured. Its other
sin was, perhaps, the quebrada (broken) choreography, a characteristic as
attractive as it was scandalous. Most of the tangos in this anthology correspond
stylistically to the period that is known as the Guardia Vieja, which
stretches from the beginning to the middle of the 1920’s. The denominations of
tango criollo, tango milonga, Argentine tango, classic tango, and tango
were used indiscriminately, without implying particular musical differences.
These transcriptions and original compositions were mainly addressed to middle
class guitar amateurs. Some of the pieces are technically accessible, clearly
aimed at the student or beginner level, while others are more demanding,
requiring an intermediate to advanced proficiency. Most of pieces in this volume
are for guitar solo, with one guitar duo, paginated comfortably to allow for
direct reading by two guitarists. Even with the passage of time, the distinction
of the tango’s heritage can provide diversion and delight whether played for
one’s own enjoyment or for the entertainment of others.
To view first line incipits click page 1 | page 2
Table of Contents: Julián Arcas—La Cubana, Danza Americana; Domingo Prat—Antillana, Danza-Habanera (first edition); Julio S. Sagreras—El Andalúz, Tango clásico; El Escandaloso, Tango criollo; Juan Maglio-Mario Rodríguez Arenas—Armenonville,, Tango brillante; A. Radizani-Mario Rodríguez Arenas—Siete Palabras; Mario Alvares-Antonio Sinópoli—Sertanejo, Tango Brasilero; A. Vidal-Daniel Fortea—Tango Fatal; Ricardo Diaz Romero—Entre las Peñas, Casta Paloma, Bambucos Colombianos (dedicated to Miguel Llobet); Justo T. Morales—De la Raza, milonga, ¡También mi rancho se llueve!..., tango; Jesus Ventura-Mario Rodríguez Arenas—A La gran Muñeca, Tango; Enrique Delfino-D. Gracia—La Copa del Olvido, tango canción; Antonio Sinópoli—El Paraiso, Motivo sobre la Milonga “La Cumbre”; Pedro M. Quijano—¡Que Polvo Con tanto Viento!, tango; Ferrazzano-Pollero-Pedro A. Iparraguirre—“Quando tu me quieras,” tango; Anselmo Aieta-Pedro A. Iparraguirre—El Huerfano, tango; José Martinez-Mario Rodríguez Arenas—Canaro, tango milonga, La Correntada, tango; Federico Spreafico—Danza Cubana, A ti Solita!... Habanera for two guitars; Julio S. Sagreras—Don Julio, Tango criollo; Juna Maglio-Adolfo V. Luna—El Alero, Tango pajuerano; J. Rodiguez-Pedro A. Iparraguirre—Mi Esclava, tango; Vicente Greco-Antonio Sinópoli—El Cuzquito, Tango; Ruperto Thompson-Mario Rodríguez Arenas—El Chistoso, tango; Alberico Spátola—13, tango criollo; Francisco Canaro-Pedro A. Iparraguirre—Tiempos Viejos, tango, Sufra, tango; Angel G. Villoldo-C. Bono—El Esquinazo, tango milonga; Mario Rodríguez Arenas—Aires populares Op. 1, milonga; Raúl de los Hoyos-Pedro A. Iparraguirre—“Purete de mi amor” tango;
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