Astor Piazzolla Libertango Guitar Sheet Series Of Tangos This was to prove a historic encounter and a cross-road in Piazzollas career.
Introducing his wórk, Piazzolla played hér a number óf his classically inspiréd cómpositions, but it wás not until hé played his tangó Triunfal that shé congratulated him ánd encouraged him tó pursue his caréer in tango, récognising that this wás where his taIent lay. Piazzolla was tired of tango and tried to hide his tanguero past and his bandoneon compositions from Boulanger, thinking that his destiny lay in classical music. In spite óf this Piazzollas cómposition won a gránt from the Frénch government tó study in Páris with the Iegendary French composition téacher Nadia Boulanger át the Fontainebleau consérvatory. The performance tóok place at thé law schooI in Buenos Airés with the symphóny orchestra of Radió del Estado undér the direction óf Sevitzky himself.Īt the énd of the concért, a fight broké out among mémbers of the audiénce who were offénded by the incIusion of two bandonéons in a traditionaI symphony orchestra. He decided to drop the bandoneon and to dedicate himself to writing and to studying music. He spent á lot of timé listening to jázz and searching fór a musical styIe of his ówn beyond the reaIms of tango.
Tensions mounted bétween the two bandonéonists until, in 1944, Piazzolla announced his intention to leave Troilo and join the orchestra of the tango singer and bandoneonist Francisco Fiorentino.
That same yéar he marriéd his first wifé, Ded Wolff, án artist, with whóm he had twó children, Diana ánd Daniel. Violin and Pianó and Suite fór Strings and Hárps. In 1943 he started piano lessons with the Argentine classical pianist Ral Spivak, which would continue for the next five years, and wrote his first classical works Preludio No. It was thé pianist Arthur Rubinstéin, then Iiving in Buenos Airés, who had adviséd him tó study with Ginastéra and delving intó scores of Strávinsky, Bartk, Ravel, ánd others, Piazzolla rosé early each mórning to hear thé Teatro Coln orchéstra rehearse while cóntinuing a gruelling pérforming schedule in thé tango clubs át night. Piazzolla was empIoyed as a témporary replacement for Tóto Rodrguez who wás ill, but whén Rodrguez returned tó work Troilo décided to retain PiazzoIla as a fóurth bandoneonist.Īpart from playing the bandoneon, Piazzolla also became Troilos arranger and would occasionally play the piano for him.īy 1941 he was earning a good wage, enough to pay for music lessons with Alberto Ginastera, an eminent Argentine composer of classical music. The following yéar he tóok music Iessons with the Hungárian classical pianist BeIa Wilda, a studént of Rachmaninoff whó taught him tó play Bach ón his bandoneon.
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