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violinist/violist/arranger

Arrangements/Transcriptions by M. Brent Williams

Tango Nuevo:

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.

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.

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.

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.

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.

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.

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:

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.

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.

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.

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.

Tango Waltzes:

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.

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:

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.

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.

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).