Arrangements/Transcriptions by M. Brent Williams
Tango Nuevo:
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Oblivion (c. 5’), one of Astor Piazzolla’s most recognizable works, was written for the 1984 film Enrico IV (Henry IV) directed by Marco Bellochio. The movie was apparently a flop, but the piece that he wrote for the occasion lives on in numerous arrangements, like the ones presented here. |
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Astor Piazzolla’s Escualo (c. 3’30’’) was written as a showpiece for his group’s violinist. The versions found here ask for that instrument (or section, where applicable) to shoulder most of the burden in this fun and flashy work. |
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Primavera Porteña (c. 7’), taken from Quatro Estaciones Porteñas (Four Seasons in Buenos Aires), is the highly contagious movement composed in 1970 by Astor Piazzolla. The versions found here utilize the work’s signature counterpoint and opening, quasi-fugal writing in addition to the use of lija, tambor, and latigo. |
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Libertango (c. 3’30”) is Astor Piazzolla's highly energetic title track from 1974. The arrangements found here attempt to harness the driving rhythms found in the original version and utilizes many extended percussive techniques traditionally found in a tanguero's arsenal. |
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Prepárense (c. 3’) was one of Astor Piazzolla’s earliest compositions and still one of my favorites. Although the work’s title urges us to “get ready”, surely no one could have predicted the impact his compositions would have on tango history. |
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Revirado (c. 3’30’’) quite possibly contains Astor Piazzolla’s most lighthearted opening material. Before the audience thinks he’s lost his edge, though, he ushers in a signature, heart-rending slow section before eventually concluding with expanded, driving opening material. |
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Enrique Díaz was Astor Piazzolla’s bass player for approximately twelve of his most important years. Piazzolla would eventually write what amounts to a tango bass concerto for him and name it Kicho (Enrique’s nickname). The version found here (c. 7’) features the cello instead of double bass but aims to capture the same spirit that inspired Piazzolla some 50 years ago. |
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Buenos Aires Hora Cero (c. 4’) depicts Astor Piazzolla leaving a tango club at midnight—“zero hour” according to the 24 hour clock—when the streets are mostly empty save a few mysterious looking characters. This arrangement calls for some extended techniques (the pianist reaching into the instrument to strum the strings in the cl-vl-vc-pn version) beyond the standard tango percussive norms. |
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Concierto para Quinteto (c. 9’) is arguably Astor Piazzolla’s most fully realized composition. So much of what we have come to expect from this great Tango Nuevo master—inventive counterpoint, 3-3-2 síncopa, lija, tambor, latigo, a quasi-Classical concerto form, agonizing slow-section melodies, biting fast-section writing, and nefarious harmonic underpinnings—is on display here. |
Tangos:
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Comme il Faut (c. 2’30’’) by Eduardo Arolas is about as standard an “old guard” tango as you will likely find. The arrangements available here draw heavily on Carlos di Sarli’s famous version and utilize tanguero techniques like triplet pizzicato, clusters, and yumba. |
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Angel Villoldo’s El Choclo (c. 3’30’’) is one of my all-time favorites if for no other reason than the fact that it was the first tango I ever learned and performed. The versions found here are not only equitable, with regards to melodic sharing, but they are also packed with traditional tango characteristics/techniques like: melodic variation, stratified articulation, triplet pizzicato, yumba, clusters, three different types of síncopa, tapao, and arrastres galore. |
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Francisco Canaro’s El Pollito (c. 3’) is another classic “old guard” tango. Despite (or perhaps because of) the stratified articulations present, the arrangements here attempt to capture the passion of early 20th century Buenos Aires. |
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El Recodo (c. 2’45’’) by Alejandro Junissi/Carlos Di Sarli is another “old guard” composition that every respectable tango ensemble should have in their repertoire. The sharp articulations and relentless rhythms make this a favorite to dance to and enjoy from the sidelines. |
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You can practically see impeccably dressed and impossibly beautiful tangueros confidently striding by as you hear the opening bars of Eduardo Arolas’ El Marne (c. 3’). This arrangement utilizes plenty of stratified articulations, single síncopas, and lija that help give it a truly authentic sound. |
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La Cachila (c. 3’), another standard number from the catalogue of Eduardo Arolas, just oozes with sensuality and confidence. Strapatta, tapao, lija, yumba, and arrastres are featured throughout these versions, which help solidify those previously mentioned characteristics. |
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Roberto Firpo’s El Amanecer (c. 2’30’’) is extremely sly and seems to flirt with the sinister part of town. The version here calls for an improvised piano cadenza to start things off, which can be ignored, and otherwise features strapatta, tapao, lija, latigo, and one of the most dramatic [not to mention virtuosic] endings you’re likely to hear. |
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Quejas de Bandoneon by Juan de Dios Filiberto (c. 2’30’’) is another classic 4/4 tango (although this one appears as 2/4 with the eighth-note getting the beat). Despite the title, a bandoneon isn’t called for in this case but you can still aim for that characteristic crunch with your aggressive string articulations. Also, arrastres, strapatta, and melodic variations are frequently employed in the versions found here. |
Tango Waltzes:
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Anselmo Aieta’s Palomita Blanca (c. 3’) is another great Tango Waltz. No offense to the Viennese, but I tend to prefer the versions of the form created across the Atlantic. They’re not as cloyingly sweet as their predecessors and, instead, offer some more substance and savory characters. This piece might even make you nostalgic for a life that you’ve never even experienced. |
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Desde el Alma (c. 3’) by Rosita Melo is one of the most recognizable tango waltzes ever composed and the arrangements here attempt to harness the charm and unmistakable melancholy found in Osvaldo Pugliese’s concert version. |
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Horacio Salgan’s Illusion de mi Vida (c. 3’30’’) is another classic tango waltz. The versions available here bring this infinitely danceable number into the classical ensemble repertoire without need for further explanation. |
Milongas:
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Campo Afuera (c. 2’30’’) by Rodolfo Biagi is a rollicking milonga that vacillates between jagged minor motives and surprisingly tender major sections. The arrangements found here make heavy use of the habañera rhythm in addition to utilizing strapatta, arrastre, and tambor, where appropriate. |
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Carlos di Sarli’s Con alma y Vida (c. 2’30’’) is another “heart on your sleeve” kind of milonga presented here as a faithful transcription from the master’s original. These versions also call for lija, tambor, and latigo-esque glissandi. |
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Silueta Portena (c. 3’), this one by Francisco Canaro, is another classic, heart-pounding milonga. The habanera rhythm and stratified articulations help drive the piece forward and there’s also plenty of opportunity for improvised melodic variation. |
Choros:
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Andre Victor Correa’s Andre de Zapato Novo (c. 3’) is another Brazilian choro with a story. As the name suggests, Andre just bought a new pair of shoes and based on the music, he is really into them! This arrangement is a virtual clarinet concerto, asking that instrument to not only carry the majority of the melodic material but to also engage in a series of increasingly absurd cadenzas. As with the other choros, a pandeiro, cabasa, egg shaker, or something similar should be used but these versions give an alternate option if no such instruments can be acquired (see score for details). |
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Tico Tico no Fubá (c. 3’30’’) is an infectious Brazilian choro written by Zequinha de Abreu. For the most authentic flavor possible, a pandeiro, cabasa, egg shaker, or something similar should be used but these versions give an alternate option if no such instruments can be acquired (see score for details). |
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Um a Zero by Pixinguinha (Alfredo Vianna)/Benedito Lacerda (c. 3’) depicts a famous fútbol (American soccer) match between the Brazilian and Uruguayan national teams that brought the first international title to the country, as South American champions. For the most authentic, choro-driven flavor possible, an egg shaker, maraca, or something similar should be used by the pianist but these versions give an alternate option if no such instruments can be acquired (see score for details). |
Baroque/Classical/Romantic Era Works:
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I love J.S. Bach’s music. Choosing my favorite work by him is a bit like picking who your favorite child is—or even admitting that you have one. If I had to make a top five list, though, his Passacaglia and Fugue in c minor (c. 14’) would definitely make the cut. These versions aren’t as bombastic as Busoni’s [for full orchestra] but they definitely embrace the Romantic tradition with their approach to dynamics, articulations, and orchestration. |
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The Swan by Camille Saint-Saens’ (c. 3’30’’) originally appeared in his Carnival of the Animals as a beautiful contrast to the percussion-driven “Fossils” movement that preceded it and now seems to be performed as a stand-alone work more often than in it its original form. If you can convince your cellist to play it in C, I’ll give you a version that makes more sense for string quartet or you can keep it in G and have the “bass” voice [in this case viola] sit higher. The string orchestra iteration doesn’t suffer from this dilemma. |
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Jules Massenet’s Mediation from Thais (c. 5’30’’) is one of the most recognizable melodies ever written for violin. There are a number of versions out there but, perhaps not surprisingly, I like mine best. |
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Antonin Dvorak’s Romance in f minor, op. 11 (c. 13’) started life as the slow movement of an early quartet of his. In the orchestral version, though, he fully stretches out these themes and ultimately surpasses the original work. I’ve tried to meet in the middle here by honoring the melodic virtuosity and adventurous harmonic ideas found in the orchestral version whilst packaging it just for strings. |
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It may not be as well known as his Toccata and Fugue in d minor for organ but J.S. Bach’s Fugue in g minor, BWV 578 (c. 3’30’’) is a close second. Here you can explore timbral variety and nuance unavailable in its original form. I imagine that this would make a good opener for a string-driven Baroque concert. |
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Carl Maria von Weber’s Invitation to the Dance (c. 9’30’’) may not be the most profound piece ever written but it is a charming work that is a lot of fun to perform. The violin-cello version is simply a transcription of the classic Kalliwoda duo [but actually legible here] and all of them are influenced by Berlioz’s well known orchestral arrangement. |
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Francesco Geminiani’s Concerto Grosso in D, op. 7 no. 1 (c. 9’) is a charming four movement work with a sizeable four part fugue as its second movement. In these versions I’ve written out all of the ornaments, added dynamics, and provided bowings to help create an accurate period sound without all of the research required of the performing group members. |
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J.S. Bach was the undisputed master of the fugue and his Praeludium and Fugue, BWV 861 (c. 4’) is another great example of the form. I’ve performed the chamber orchestra version for a Bach Festival concert but any of these versions could easily find their way onto a number of different programs and for various occasions. |
Others:
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In my opinion, there’s never enough Jewish music performed in December at Holiday Concerts in this country. O Chanukah/Hevenu Shalom Aleichem (c. 5’) is a super fun medley that aims to help alleviate this situation. There’s an optional [and simple to play] tambourine part included that really enhances the arrangement. Happy Hanukkah everyone! |
