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Title: The Bandoneón Review — A Journal of Astor Piazzolla & the Nuevo Tango · language en. First 1,800 of 6,191 characters:
The Bandoneón Review — A Journal of Astor Piazzolla & the Nuevo Tango Skip to content The Bandoneón ReviewAstor Piazzolla & the Nuevo Tango Home The Life Nuevo Tango Bandoneón Works Journal About An open bandoneón beneath a single stage light — an original atmospheric study, not a photograph of any performer. An Independent Journal of the Nuevo TangoThe Bandoneón ReviewA journal devoted to the music of Astor Piazzolla and the revolution he set loose in tango — the moment a dance from the docks of Buenos Aires walked into the concert hall and refused to leave.For most of a century tango belonged to the ballroom and the cabaret. Then a bandoneón player who had grown up between New York and Buenos Aires decided that the music of his city deserved to be listened to as closely as a string quartet — and the argument that followed split a nation. This publication is about that argument and its extraordinary music: nuevo tango, the concert tango of Astor Piazzolla, treated as living repertoire, as history, and as craft.Why Piazzolla still mattersPiazzolla did not invent tango; he detonated it. Into a form that had settled comfortably into the dance halls of the Golden Age he introduced the counterpoint of Bach, the harmonic restlessness of Stravinsky and Bartók, and the swing and improvisatory heat of the jazz he loved. Traditionalists accused him of murdering the tango. Half a century later his compositions are played by cellists and string quartets, sampled by film composers, and programmed beside Vivaldi. The Encyclopædia Britannica now calls him simply the most important tango composer of the second half of the twentieth century.What you will find hereThe life — from a second-hand bandoneón in a New York tenement to the concert stages of Paris and Milan.Nuevo tango — what a
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