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Astor
Piazzolla repeatedly demonstrated in his large-scale compositions how far
the synthesis of classical and folklore elements could go, and how they
could be utilized for a 'tango nuevo' as well as for new concert works
such as the Concerto for bandoneon, strings, piano and percussion entitled
Anoncagua, written in 1979 to a commission from Simon Blech. The orchestral
forces required come close to the traditional 'orquesta tipica' (which
incidentally had been preserved on records shortly after the turn of the
century), and thus combine the tonal world of South America with that of
Europe. In this context, the bandoneon plays a role that cannot be compared
to that of the solo instrument in a conventional concerto. Instead of 'competing'
with the orchestra, the soloist controls the entire musical event, while
the orchestra functions mainly as an accompaniment and to provide atmosphere.
The structure of the three movements (Allegro marcato-Moderato- Presto)
is rhapsodic rather than characterised by any symphonic development and
is hardly different from that of the Tres Tangos for bandoneon and orchestra
(Allegro tranquillo, Moderato mistico and Allegro motto marcato), which
now forms a bridge not only between the old world and the new, but also
between the traditional tango and the 'new' variant. Nostalgic melodies
and harmonic turns of phrase are repeatedly blended in a tonal language
which is quite advanced, and which, in the third tango, is at times reminiscent
of a piece of grotesque machinery.
The
suite Punta del Este, with the movements entitled Introduccion, Coral,
and Fuga, largely obeys the same principles. As in the three tangos and
the bandoneon concerto, it runs the risk of being criticised for 'falling
between two stools', whereas the attentive listener is more likely to experience
it as a creative fusion of the most varied influences. What Piazzolla said
about his concerto Aconcagua can be applied equally well to the suite:
he had no wish to complete, he said, with other types of contemporary music
- his own style and feelings were to heard here, and they are those of
a porteño, a man from Buenos Aires.
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