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orchestras : piazzolla

Although he had been born in Argentina, Astor Piazzolla was brought up in New York. He arrived in Buenos Aires at the age of seventeen, in 1938, and played his bandoneón with a number of orchestras, before getting a job with Anibal Troilo, for whom he also did arrangements. When vocalist Fiorentino left Troilo in 1944, he took Piazzolla with him. By 1946 Piazzolla had his own orchestra.

El Musico y El Poeta El Musico y El Poeta
Astor Piazzolla is best known for his recordings from the 1970s and 1980s, when he found a whole new audience for the idea of Tango and the bandoneón. Recordings he made in the 1940s are also reasonably easy to come by. But this CD represents the most neglected, and possibly most interesting part of his career - the late 1960s and early 1970s.

Piazzolla's collaboration with the poet Horacio Ferrer between 1967 and 1973 represents the turning point in his career, and his first taste of real success. Here Piazzolla finally left behind the tradition of Tango dance music, and found the unique voice that was to make him internationally famous.

This CD contains rare recordings of Piazzolla playing bandoneón solos while Ferrer recites the lyrics, as well as Piazzolla's orchestral recording with singers Amelita Baltar and Roberto Goyeneche. It is certainly not dance music, but it records an important moment in the history of Tango.

It is a CD that no Piazzolla fan should be without.

Balada para un Loco - Ferrer
Paraguas de Buenos Aires - Baltar
Chiquilin de Bachin - Ferrer
Chiquilin de Bachin - Goyeneche
Fabula para Gardel - Ferrer
Las Ciudades - Baltar
Cancion de las Venusianas - Ferrer
No Quiero Oro - Baltar
Balada para El - Ferrer
El Gordo Triste - Goyeneche (live)
Preludio para la Cruz del Sur - Ferrer
La Primera Palabra - Baltar
Balada para mi Muerte - Ferrer
Balada para un Loco - Goyeneche

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Nelly Omar con Canaro / Fiorentino con orchestra dirigida por Piazzolla
The nine Fiorentino tracks on this cd show Piazzolla while he was still playing within the Tango tradition and doing some fabulously rich arrangements. The rest are Nelly Omar (see Canaro)

Rosa De Otono (V Omar), Vejo Ciego (Fiorentino), Nobleza de Arrabal (Omar), Volvio Una Noche (Fiorentino), Sentimiento Gaucho (Omar), Soy Una Fiera (M Fiorentino), Cancion Desesperada (Omar), Otros Tiempos y Otros Hombres (Fiorentino), Adios Pampa Mia (Omar), En Carne Propia (Fiorentino), Gardel-Razano (M Omar), Cotorrita de la Suerte (Fiorentino), Dejame... No Quiero Verte Mas (Omar), Nos Encontramos al Pasar (Fiorentino), Desde el Alma (V Omar), De Vuelta al Bulin (Fiorentino), Sus Ojos se Cerraron (Omar), Corrientes y Esmeralda (Fiorentino), La Cancion de Buenos Aires (Omar)

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El Desbande
Piazzolla's own orchestra this time, recorded in 1947. For those who enjoy Piazzolla's later recordings, it is interesting to hear him when he was still playing dance music. Vocals Aldo Campoamor (7).

El Desbande, Como Abrazado A Un Rencor, El Rapido, Tiernamente, La Rayuela, Solo Se Quiere Una Vez, Orgullo Criollo, El Milagro, Che Bartolo, Haragan, El Recodo, Tapera, Tu Palido Final, Ahi Va El Dulce

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Se Armó
More recordings by Piazzolla's orchestra, made between 1946 and 1948.

Se Armo, Adios Marinero, Quejas De Bandoneon, Se Fue Sin Decirme Adios, El Pillete, Taconeando, De Mi Bandoneon, Ojos Tristes, Chiclana, Cargamento, Inspiracion, Republica Argentina (V), Villeguita, Tierra Querida, Pigmalion, Todo Corazon, Cafetin De Buenos Aires, En La Huella Del Adios

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orchestras : piazzolla

The Meaning of Tango
The story of the dance, and a fascinating insight into the meaning of Tango in its birthplace, Buenos Aires
Click here to learn more
Secrets of the Early Tango
How was Tango really danced at the time when the whole world went Tango Crazy?
Click here to learn more

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