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ASTOR PIAZZOLLA
for Violin & Guitar
ARRANGEMENTS BY IAN MURPHY
CONTENTS
ADIOS NONINO 46 Los Posripos
Boricua, 48) Mane IN USA
BUENOS AIRES HORA CERO 50 MI EXALTACION
CALAMBRE 52. MISTERIOSA VIDA
DECARISIMO 54 NUEVO MUNDO
DERNIER LAMENTO 56 PRESENTANIA
DETRESSE 58 Psicosts
EXTasIs 60 RECUERDO New York
Fievre (FIEBRE DE TANGO) 62 REviRADO
FRACANAPA 64 ROMANTICO IDILIO (SANS TA PRESENCE)
GREENWICH 65 SE TERMINO (C'EST FINI)
Guuinay 68 Suavipap
IMAGINES 676 70 Taco cuoc (Douvov)
IRACUNDO 72 Taxcutsimo
La CALLE 92 74 TE QuIERO TANGO
LA FIN DEL MUNDO 76 Topo Fue
Las FURIAS 78 Yo CANTO UN TANGO
LLUEVE sopeE BRoaDway 80 About Astor Pazzolla
SBN 0-b34-09635-7
Publisher: LES EDITIONS UNIVERSELLES
represented in Canad and USA by
DAVID MURPHY ET CIE
HALeLEONARD®
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e ABouT ASTOR PIAZZOLLA
Astor Piazzolla (1921-1992) was the
foremost composer and ambassador of tango
music, who carried the signature sound of
Argentina to clubs and concert halls around
the world.
Piazzolla was born in 1921 in Mar del
Plata, on the coast south of Buenos Aires, but
lived in New York City from 1924 to 1937. In
New York the young Piazzolla tuned into the
vibrant jazz scene and bandleaders such as
Duke Ellington and Cab Calloway. At age 12
he received his first bandoneon, a type of
butten accordion that is the principal voice
of tango, and began playing music from the
classical repertoire. Soon afier his family
returned to Argentina in 1937, Piazzolla
joined the popular tango orchestra of Anibal
Troilo and—while still a teenager—estab-
lished himself as a talented bandoneon player
and arranger.
In Argentina, Piazzolla continued to
study classical music, 100, with the composer
Alberto Ginastera and others. In 1954,
Piazzolla composition “Buenos Aires” won
him a scholarship to study im Paris with
Nadia Boulanger, who encouraged him to
find his own voice by tapping into his
passion for tango. Back in Argentina in the
late 1950s, Piazzolla did just that, laying the
groundwork for what become known as
tango nuevo—new tango.
In 1960 he formed his seminal group
Quinteto Tango Nuevo, featuring bandoneon
alongside violin, guitar, piano, and bass. In
the ensuing years Piazzolla music increas.
ingly used dissonance, metrical shifts,
counterpoint, and other techniques inspired
by modern classical composition and jazz
orchestras. In Argentina, where tango is a
source of national pride and identity, some
tango purists were incensed by these radical
departures from tradition, and in the late
1960s even Argentina’s military government
criticized Piazzolla for being too avant-garde.
Piazzolla left behind a huge body of
music—more than 750 works—and classic
recordings such as Adiés Nonino and Tango:
Zero Hour, as well as collaborations with
artists as diverse as poeV/author Jorge Luis
Borges (El Tango), jazz vibraphonist Gary
Burton (The New Tango), and the Kronos
Quartet (Five Tango Sensations). In 1986.
Piazzolla’s_ music was featured in the
Broadway hit Tango Argentino, In 2001
Amadeus Press published Astor Piazzolla: A
Memoir, the remarkable life story (as told to
journalist Natalio Gorin) of one of the 20th
century’s true musical iconoclasts.
