More Tangos, Milongas, Habaneras

for guitar.

Compiled and edited by Matanya Ophee

with an Introduction by Analía Rego, translated by Carlos Barrientos.

56 pp., $24.95, Presser Order number 494-02724 (PWYS-65)

tango-2.jpg - 10961 BytesAll 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 ArcasLa Cubana, Danza Americana; Domingo PratAntillana, Danza-Habanera (first edition); Julio S. SagrerasEl Andalúz, Tango clásico; El Escandaloso, Tango criollo; Juan Maglio-Mario Rodríguez ArenasArmenonville,, Tango brillante; A. Radizani-Mario Rodríguez ArenasSiete Palabras; Mario Alvares-Antonio SinópoliSertanejo, Tango Brasilero; A. Vidal-Daniel ForteaTango Fatal; Ricardo Diaz RomeroEntre las Peñas, Casta Paloma, Bambucos Colombianos (dedicated to Miguel Llobet); Justo T. MoralesDe la Raza, milonga, ¡También mi rancho se llueve!..., tango; Jesus Ventura-Mario Rodríguez ArenasA La gran Muñeca, Tango; Enrique Delfino-D. GraciaLa Copa del Olvido, tango canción; Antonio SinópoliEl 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. IparraguirreEl Huerfano, tango; José Martinez-Mario Rodríguez ArenasCanaro, tango milonga, La Correntada, tango; Federico Spreafico—Danza Cubana, A ti Solita!... Habanera for two guitars; Julio S. SagrerasDon Julio, Tango criollo; Juna Maglio-Adolfo V. LunaEl Alero, Tango pajuerano; J. Rodiguez-Pedro A. IparraguirreMi Esclava, tango; Vicente Greco-Antonio SinópoliEl Cuzquito, Tango; Ruperto Thompson-Mario Rodríguez ArenasEl Chistoso, tango;  Alberico Spátola13, tango criollo; Francisco Canaro-Pedro A. Iparraguirre—Tiempos Viejos, tango, Sufra, tango; Angel G. Villoldo-C. BonoEl 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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Last Modified: Saturday, November 19, 2011 11:56 AM