Arrangements/Transcriptions
Tango Nuevo:
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. |
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. |
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. |
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:
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. |
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. |
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:
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. |
Milongas:
Choros:
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). |
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). |
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:
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. |
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. |
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. |
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. |
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. |
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. |
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:
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! |