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Carmen Piazzini Piazzini plays Piazzolla and other Composers from Argentina OC 112 CD
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FormatAudio CD
Ordering NumberOC 112
Release date09/02/2010
Players/ContributorsMusicians Composer
  • Aguirre, Julián
  • Buchardo, Carlos López
  • Ginastera, Alberto
  • Guastavino, Carlos
  • Piazzolla, Astor
  • Sáenz, Pedro
  • Williams, Alberto

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      Description hide

      Carmen Piazzini, born and raised in Buenos Aires, completed her studies in Germany with Hans Leygraf. As an intermediary between the worlds of classical music in Europe and South America, she consciously performs Astor Piazzolla’s works from the viewpoint of a classically trained pianist. On this CD, she also presents works of composers from her homeland, some of whom are virtually unknown in Europe.

      Piazzini plays Piazzolla

      European music has accompanied my life since childhood. Its philosophical character, the profound nature of its sadness and its joy, its stylistic and gestural variety, its tendency to artistic individuality, its high level of artistry and inherent earnestness were and are to the present day the role-models of my artistic aesthetics. Consequently, there had to be a particular reason for my making a CD recording of Astor Piazzolla (1921– 1992), for when all is said and done, I am no “Tanguera”. Therefore, I chose pieces to play in which I felt an affinity to him. Astor Piazzolla was a trained classical pianist and the piano had been “his” instrument long before he dedicated himself to the Bandoneón. For this reason, I felt justified in playing Piazzolla with my classical Mozart fingers, and I never tried to hide this for a moment. At the same time, I felt a touching solidarity with him, a man who had long lived abroad and experienced profound melancholy and eternal longing for the land of his birth.

      European earnestness cannot comprehend our Argentinean mentality; our genes are different, Piazzolla’s music shows his seriousness in the emotions he presents in his social and political day-dreams. We also believe that a philosophical knowledge of the world is as much use to our ideas about life as the trustworthiness for which we fought so hard, because we believe, or maybe only feel, that this is the way to become a static figure, a statue in a negative sense. We experience ourselves through movement, moved however more by fate than by movements of our own choosing. We are dancers, and although disciplined, we remain free!

      Piazzolla’s music reveals this emotional profundity, as does the work of the other composers represented on this CD. All of them were bound by ties of friendship to my family in Argentina, with the exception of Fontenla and Sáenz. I have been playing their music since my childhood, so they are very familiar to me. Thus I decided to record a selection by composers who, like Piazzolla, did not want to be defined only by the characteristics of their national dance. I believe that the recording has proved me right. In contrast to Piazzolla, who became famous throughout the world in the last years of his life, the others are not well-known outside Argentina (with the exception of Ginastera), and they deserve to become better-known. Argentinean music may seem less ingenious than its European counterpart, particularly when compared to German music, but it is sensuous and corporeal in a philosophical way. Carlos Guastavino (born 1914) writes compositions based on folk music. His compositions clearly demonstrate his interest in song-forms; they play directly on the strings of the listener’s heart.

      Atardecer en al sierra (sunset over the Low Mountain Range) by Jorge Fontenla (born in 1927) was composed in 1948. The influence of Debussy’s music is unmistakable.

      Alberto Ginastera (1916–1983), Piazzolla’s and Fontenla’s teacher, originally wrote his Milonga for voice and piano, with the title The tree of forgetfulness. A lover lies down under the tree to forget his beloved. Logically, he forgets his intention at the same time. His three “Argentinean Dances” the Dance of an Old Cowherd, Dance of a graceful girl and Dance of a mischievous Gaucho, form an internally coherent work, comparable to the movements of a sonata.

      Carlos López Buchardo (1881– 1948) is the most important figure in Argentinean classical music next to Ginastera. He wrote few pieces for piano. Bailecito (Little Dance) became very popular. Campera, a work written for a large orchestra, was rearranged by him for piano.

      The Milonga is Argentina’s favourite dance form, after the Tango, and, in contrast to the latter, can have amusing texts. Ginastera’s Milonga is of course an exception, Pedro Sáenz’s (1915 –1995) is strongly reminiscent of Darius Milhaud.

      Alberto Williams (1862–1952) composed El rancho abandonado (The Abandoned Hut) as part of a piano suite in 1890 shortly after his return from a prolonged visit to Paris. Williams was very much inspired by European music, but remains close to the heart of Argentinean folklore.

      Julián Aguirre (1868–1924) was a great friend of Williams. Triste (sad), the fourth of five Tristes as well as Gato (Dance) are not typical of Argentinean folk-style compositions, although this was his aim. The Gato on this CD was also arranged by Ernest Ansermet for orchestra.
      Carmen Piazzini
      Translation: Deborah Holmes

      Tracklist hide

      CD 1
      • Astor Piazzolla (1921 – 1992)
        • 1.Retrato de Alfredo Gobbi05:19
        • 2.Pigmalion02:13
      • Carlos Guastavino (*1914)
        • 3.Bailecito02:56
        • 4.Gato01:32
      • Jorge Fontenla (*1927)
        • 5.Atardecer en la sierra02:56
      • Astor Piazzolla
        • 6.Tango del angel02:58
        • 7.Picasso02:38
      • Alberto Ginastera (1916 – 1983)
        • 8.Milonga02:33
      • Danzas Argentinas
        • 9.Danza del viejo boyero01:15
        • 10.Danza de la moza donosa03:26
        • 11.Danza del gaucho matrero03:11
      • Carlos López Buchardo (1881 – 1948)
        • 12.Bailecito01:15
        • 13.Campera04:29
      • Pedro Sáenz (1915 –1995)
        • 14.Milonga02:13
      • Astor Piazzolla
        • 15.Canción de las Venusinas02:08
        • 16.Preludio para la Cruz del Sur02:37
      • Alberto Williams (1862 –1952)
        • 17.El rancho abandonado Op. 32/404:37
      • Julián Aguirre (1868 –1924)
        • 18.Gato02:13
        • 19.Triste No. 402:37
      • Astor Piazzolla
        • 20.Chau Paris02:26
        • 21.Muerte06:10
      • total 62:25
        • Total:01:01:42