Am 18.12.2010 ab 21 Uhr bis 1 Uhr im La Boca, Komturstraße 4, Bremen (www.maxtango.eu) eine Milonga, diesmal mit Aufnahmen von Juan Di Arienzo - El Rey de Compas.
Juans Orchester brachte Scharen zum Tanz. Kein Scherz! Jedes andere
Orchester fühlte den Druck, den Stil so ändern zu müssen, um mehr
Energie und Spaß so wie es Di Arienzos Orchester machte auf die
Tanzfläche zu bringen.
Juan Di Arienzo wurde fast auf den Tag genau vor 110 Jahren in Buenos
Aires als Sohn italienischer Einwanderer geboren. Arienzo studierte ab
dem Alter von 12 Jahren Violine. Sein erster öffentlicher Auftritt war
mit D'Agostino und Bianchi. In den 20ern spielte er in verschiedenen
Orchestern alle Arten von Musik. Im Jahr 1926 kehrte er zurück zum
Tango als Violinist im Orquesta Típica Paramount.
Bekannt ist Arienzo als "Der König des Rhythmus" (El Rey del Compás).
In vielerlei Hinsicht war er die treibende Kraft des Goldene
Zeitalters (Epoca de Oro) des Tangos. Sein Orchesters füllte Tanzsäle.
Sein Beat, seinen Sound, seine Musiker sind unglaublich.
Ich freue mich auf Euch
Eryk
Montag, 20. Dezember 2010
Dienstag, 12. Oktober 2010
La Boca 16.10.2010 ab 21 Uhr
Das Musikalische Thema der nächsten Milonga im La Boca (Komturstr 5, Bremen) ist:
A Fuego Lento - Horacio Salgan und das Quinteto Real.
In den 50 Jahren als der Unterhalt von Vollbesetzten Tangoorchestern nicht mehr bezahlt werden konnte mussten sich drei wichtige Orchester, das von Horacio Salgan, Pedro Laurenz und Enrique Francini auflösen. Salgan (Klavier) und Lio (Gitarre) sowie Laurenz (Bandoneon) und Francini (Geige) traten jeweils im Duetten auf. 1960 schlossen sich die beiden Duette zusammen und formten zusammen mit dem Kontrabassist Rafael Ferro das Quinteto Real. Sie spielten zusammen von 1960 bis 1970. Später 1987 formte Salgan das Orchester Nuevo Quinteto Real.
In Salgans Musik gibt es zwei Einflüsse den der Black Musik und den der klassischen Musik. So findet man im Tango A Fuego Lento (das Langsame Feuer) ein Fragment aus der Oper von Rossini der "Barber von Sevilla". Brühmt ist Salgan auch für seine Interpretationen "inspirationen" klassischer Tango wie zum Beispiel von De Caro's "Tierra qurida".
Wir hören an diesem Abend also nicht nur Musik vom Quinteto Real und Nuevo Quinteto Real sondern auch die der Orchesters von Francini, Pedro Laurenz, De Caro.
Ich bin Gespannt....
Bis zum Samstag
Eryk
Dienstag, 20. Oktober 2009
I was following recently a discussion "If you must play alternative..." on the Tango-DJ mailing list.
The posts in that thread that appealed to me was that one by Patrick J. Lademan which I am posting here.
>>>>
If you are the teacher, you can teach them to appreciate the golden age music. Don't teach by dictating, teach by providing inspiring examples.
I recently taught a DJ class. I assumed that everyone could Trespie. I alternately played 30 seconds of Ella Es Asi against Mi Corazon about 4 times. I watched them dance. It was very clear that Ella Es Asi inspired them to dance trespie while Mi Corazon did not. I was surprised that they were all very consistent. Then I asked them, which one inspired you to dance trespie? Although milonga can be danced Lisa or Trespie, it is the traditional music that inspires trespie.
This can be done for tango music as well. Pick a Golden Age song with a very strong marcato (dump-dump.. ...... dah). Teach them to dance the marcato. After they really get it, play an alternative song. Ask them how the step felt. Hopefully, they will admit that they were not inspired because the music did not provide it. If we dance to the music and the music does not contain the rhythm, we should not be inspired to dance marcato?
It's not about whether one music is good or bad. It's about what you want your students to learn. Teaching them how to dance to the traditional rhythms will teach them how to appreciate the music. They will eventually crave the traditional music because it inspires them to dance the steps they learned.
>>>>
The posts in that thread that appealed to me was that one by Patrick J. Lademan which I am posting here.
>>>>
If you are the teacher, you can teach them to appreciate the golden age music. Don't teach by dictating, teach by providing inspiring examples.
I recently taught a DJ class. I assumed that everyone could Trespie. I alternately played 30 seconds of Ella Es Asi against Mi Corazon about 4 times. I watched them dance. It was very clear that Ella Es Asi inspired them to dance trespie while Mi Corazon did not. I was surprised that they were all very consistent. Then I asked them, which one inspired you to dance trespie? Although milonga can be danced Lisa or Trespie, it is the traditional music that inspires trespie.
This can be done for tango music as well. Pick a Golden Age song with a very strong marcato (dump-dump.. ...... dah). Teach them to dance the marcato. After they really get it, play an alternative song. Ask them how the step felt. Hopefully, they will admit that they were not inspired because the music did not provide it. If we dance to the music and the music does not contain the rhythm, we should not be inspired to dance marcato?
It's not about whether one music is good or bad. It's about what you want your students to learn. Teaching them how to dance to the traditional rhythms will teach them how to appreciate the music. They will eventually crave the traditional music because it inspires them to dance the steps they learned.
>>>>
Freitag, 11. September 2009
Mittwoch, 21. Januar 2009
Abonnieren
Posts (Atom)
