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artistic manifesto that
Piazzolla respected very strictly. This manifesto sought to place the commercial aspect in the background; to incorporate arrangements of classic tangos and as well as new creations into the repertoire; to not include sung works; and to not perform at dances, but only on radio, television or in concert, or for recordings. The works would be explained before executing them, in order to facilitate their understanding. The purpose of the project was to improve the quality of tango, convince those who had turned away from tango, as well as the genre's detractors, of tango's unquestionable values, attract listeners of foreign music, and conquer the general public.
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himself and the bandoneonist Pedro Maffia, as well as their highly regarded counterpart Juan Carlos Cobián, whose works were of great harmonic and melodic interest. Finally, several exponents of modern tango are included, such as
Horacio Salgán and José Pascual, in addition to compositions by Horacio Malvicino and Piazzolla himself.
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Initially he had difficulties balancing the sound of the Octeto due to the lack of strings, which meant that those he did have were required to play in an unusual way to compensate. The strings were also called upon to imitate percussion instruments and the two bandoneons had to play up to six-part
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was an experimental project by
Piazzolla, through which he proposed a new way of addressing the genre that required a new approach to listening to tango, much more arduous than that of traditional tango. The experience did not have enough public to be financially viable, and, furthermore, tango in
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were sporadic and its members were obliged to join other ensembles to make ends meet. They would, however, never derive the same satisfaction from these other engagements as from the Octeto. The Octeto made only a few recordings after
Piazzolla had agreed to sign away rights to the royalties.
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The complete repertoire of the octet included nineteen arrangements, of which eight are included on this album. Among the compositions, the beginnings of traditional tango are represented by
Rosendo Mendizábal. The main composers of the Decarean school are also present, including Julio De Caro
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was carried away by a certain excess in the music he wrote for this octet, based on the classic tango sextet, with the addition of a cello and an electric guitar (something new for the time). However, seen in perspective, what seems like a chaotic explosion of creativity is instead based on an
108:. In his search for new ways of expressing himself musically Piazzolla formed his own orchestra of this type in 1946. Unsure of which way to turn he disbanded his orchestra in 1950 and began to study classical music which took him to Paris in 1954, where he studied classical composition and
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Piazzolla was tired of the constraints imposed by traditional tango and aimed to use his Octeto to introduce new rhythms, harmonies, melodies, timbres and forms, whilst maintaining the essence of tango. His inclusion of counterpoint, fugues and new harmonic forms was to stir up the first
97:. In 1958 the Octeto was disbanded and Piazzolla returned to New York City with his family where he struggled to make a living as a musician and arranger in the next stage of his career that would prove to be so ground-breaking in the history of tango.
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harmonies. The piano and double bass provided the rhythmical force. Soon after the formation of the Octeto, Piazzolla began to wonder whether he had taken tango too far away from its roots, and called upon the highly respected
247:, since Piazzolla burned a large part of his scores. The other seven arrangements included in the album had to be transcribed from the recordings, which were all commercially released except for
120:. Impressed by the enthusiasm of the musicians and the obvious pleasure they derived from improvising together, something he had not observed in the world of tango, he decided to form the
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to adjudicate. Everyone was greatly relieved when, after listening to them perform, he reassured them that they were indeed still playing music within the genre.
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general was on its way to a major crisis, in full struggle with other popular genres that were emerging, including rock, tropical music, the bolero, etc. The
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of the 1930s and 1940s. This would mark a watershed in the history of tango and set
Piazzolla on a collision course with the tango establishment. The
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The Octeto Buenos Aires music has never been performed again since
Piazzolla dismantled this revolutionary formation. In September 2021 as part of
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which would later come to haunt him. His music was beginning to appeal less to dancers and more to people who would go to listen to his music.
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During his youth, Piazzolla had served his musical apprenticeship as a tango bandoneonist in a number of orquesta típicas, including those of
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had a great influence upon some of the musicians who were thinking of different ways to modernize tango in the same time period.
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brief but significant history is considered the turning point between two eras and two types of tango. The ensemble pioneered
116:. During his time in Paris, he had the opportunity of listening to many jazz groups, including the tentet of the saxophonist,
208:’s version of it as a child. The Octeto created a new sound akin to chamber music and without a singer, normally part of an
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The only surviving original manuscript of an arrangement of the Octeto Buenos Aires is that of the tango
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Omar Garcia
Brunelli, Piazzolla Rovira: The Edge of Tango, SONICO album booklet, El Antitango vzw 2021.
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Azzi and
Collier, Le Grand Tango: The Life and Music of Ástor Piazzolla, Oxford University Press, 2000.
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216:, nor the cello solos of the classically trained Bragato had ever been heard before in tango.
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travels back to the origins of the avant-garde tango to breathe new life into this music!
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lasted just two years but it left an indelible mark on the history of tango.
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196:(electric guitar). Piazzolla's first arrangement for the Octeto was the tango
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not only recovered previously recorded (but lost) repertoire, but also
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may be in need of reorganization to comply with
Knowledge's
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The Rough Dancer and the Cyclical Night (Tango Apasionado)
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Piazzolla, Ástor. A Memoir, Natalio Gorin, Amadaeus, 2001
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8 Octeto Buenos Aires scores that were largely destroyed
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42:to make improvements to the overall structure.
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283:celebrations, the Brussels-based tango group
297:by Piazzolla himself. The research work for
355:Neotango (Leopoldo Federico & M.Flores)
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188:(cello), Aldo Nicolini (later replaced by
293:. The repertoire of this album includes
58:Learn how and when to remove this message
443:"1944-1964: 20 años de Vanguardia", 1964
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164:He chose the best musicians of the day:
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291:"Piazzolla - Rovira: The Edge of Tango"
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289:(° 2015) will publish its third album
272:The Octeto Buenos Aires music nowadays
153:rehearsal from the Octeto Buenos Aires
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341:Marrón y azul (Astor Piazzolla, 1955)
299:“Piazzolla-Rovira: The Edge of Tango”
74:Octeto Buenos Aires promotional photo
412:Tema otoñal (Enrique Mario Francini)
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259:Without precedent in tango, the
228:controversies among traditional
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402:Lo que vendrá (Astor Piazzolla)
303:pieces that were never recorded
172:) joined him on bandoneon with
448:Tango ballet (Astor Piazzolla)
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375:Tangology (Horacio Malvicino)
305:. After more than 60 years,
86:group formed in 1955 by the
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593:Piazzolla's Orquesta Típica
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254:The performances of the
435:José Horacio Staffolani
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178:Enrique Mario Francini
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122:Octeto de Buenos Aires
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562:María de Buenos Aires
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576:Suite Punta del Este
510:List of compositions
365:Anoné (Hugo Baralis)
278:Piazzolla's 100 year
192:on double bass) and
106:Francisco Fiorentino
598:Octeto Buenos Aires
541:Estaciones Porteñas
327:Octeto Buenos Aires
266:Octeto Buenos Aires
261:Octeto Buenos Aires
256:Octeto Buenos Aires
168:(later replaced by
144:Octeto Buenos Aires
132:Octeto Buenos Aires
80:Octeto Buenos Aires
40:editing the article
659:Tango music groups
424:Juan Carlos Cobián
370:Rosendo Mendizábal
346:Juan Carlos Cobián
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569:Milonga Del Angel
548:Histoire du Tango
194:Horacio Malvicino
170:Leopoldo Federico
124:on his return to
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33:layout guidelines
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628:Tango: Zero Hour
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395:Tango progresivo
368:El entrerriano (
350:Enrique Cadícamo
222:Osvaldo Pugliese
140:orquesta típicas
82:was a legendary
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385:A fuego lento (
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210:orquesta típica
174:Atilio Stampone
166:Roberto Pansera
114:Nadia Boulanger
95:Astor Piazzolla
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38:Please help by
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387:Horacio Salgán
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360:Eduardo Arolas
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344:Los mareados (
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249:Tierra Querida
206:Elvino Vardaro
118:Gerry Mulligan
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405:La revancha (
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102:Aníbal Troilo
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29:This article
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527:Adiós Nonino
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519:Compositions
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431:Pedro Maffia
429:Taconeando (
422:Mi refugio (
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380:José Pascual
336:Hector Grané
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202:José Pascual
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190:Juan Vasallo
186:José Bragato
182:Hugo Baralis
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126:Buenos Aires
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110:counterpoint
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612:Discography
315:Discography
281:anniversary
234:Nuevo tango
184:(violins),
136:nuevo tango
48:August 2023
603:Conjunto 9
555:Libertango
534:La Camorra
453:References
358:El Marne (
586:Ensembles
378:Arrabal (
230:tangueros
176:(piano),
158:Piazzolla
128:in 1955.
91:bandoneon
88:Argentine
653:Category
334:Haydeé (
415:Boedo (
397:, 1957
338:, 1935)
329:, 1957
245:Arrabal
198:Arrabal
93:player
639:(1988)
631:(1986)
623:(1974)
620:Summit
433:&
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308:SONICO
286:SONICO
112:with
84:tango
180:and
104:and
78:The
200:by
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