World famous guitarist
Andrès Segovia (1893-1987) is
reported to have stated about the tango,
"what mysterious music and what
exceptional poetry." The tango’s
popularity and status has fluctuated
greatly over the years but is enjoying
yet another international renaissance
and is currently extremely fashionable
especially in the UK. Although some
conventionalists may disagree I find
it most refreshing to hear the Latin-American
tango played on the guitar instead of
the more traditional bandoneón
or the increasingly more commonly heard
accordion.
The origin of the tango
has not been answered with a definitive
connection and remains an enigma. The
image of the tango that has been retained
is that of the dance so unashamedly
sensual in character which epitomises
the glamour and elegance of high society
with women wearing glittering evening
dresses and men wearing tuxedos with
tails. However the tango most likely
evolved in society’s underclass; such
as the seedy brothels of Argentinean
seaports; namely Buenos Aires and Montevideo.
Although musical historians disagree
to its exact origins it is generally
accepted that the tango is borrowed
from many places and cultures. Many
hold the view that the tango took its
rhythms from African slaves, others
from native South American Indian rhythms
fused with the music of the early Spanish
colonists. I have an 83 year old copy
of ‘Grove’ which states the origins
of the tango from Mexican dance which
imitated the movements of the Negro.
This is all part of the mysterious magic
and seduction that surround the tango.
I did not previously
know any of the pieces on this new Naxos
release and they provide a really fine
cross-section of twentieth century Argentinean
tango music. Astor Piazzolla and the
word tango go together like strawberries
and cream and basing all his works on
the tango it is no surprise that the
music of Piazzolla takes centre stage
on this release with six of his works.
I have to say how much Piazzolla’s The
Last Woman sounds in parts like
the main theme from Bart Howard’s 1954
hit song Fly me to the Moon (In other
words) that Tony Bennett and Frank
Sinatra had considerable success with.
His appealing Farewell Nonino
is meditative with some Bach-like moments
and his contemporary sounding and often
steamy evocation Midnight in Buenos
Aires shows considerable invention.
My particular favourite is Lito Vitale’s
engaging Milonga for its sheer
invention and dance-like qualities.
Other highlights include Carlos Moscardini’s
contemplative, sultry and rhythmic Milonga
of Confusion, Carlos Gardel’s airy
and sophisticated Coming Back
and the wonderfully virtuosic Military
Tap by Mariano Mores for
its Andalusian feel fused with jazzy
syncopations. The two Julian Plaza works
Melancholic and Nostalgia
were the least successful for me
as I found them somewhat lacking in
variety and tended to drag.
The Argentinean soloist
Victor Villandangos is an inspired choice
for these warm and colourful tango works
from his fellow-countrymen and his marvellous
playing is most spacious, descriptive
and expressive. He makes light work
of the virtuoso demands of even the
most technically challenging works such
as Pedro Laurenz’s Milonga of my
Loves and Mariano Mores’s Military
Tap whilst still maintaining an
exceptionally high degree of panache
and inspirational spontaneity. Villandangos’s
tone is exceptionally attractive and
is assisted by the real fine sound quality.
Exceedingly appealing
music exceptionally well played. Naxos
have a sure-fire winner here.
Michael Cookson
Victor Villadangos (guitar) 