Tango perpétuel, 1995
It can appear odd, even unseemly, to play tango on the piano-the genre is so much associated to the plaintive strains of the bandoneon. This would be forgetting that in its early stages, in the 1880's, tango was mainly danced to the sound of the upright pianos in the prostibulos and other cases de baile of Buenos Aires or Montevideo. The instrument's percussive fortissimo was then the ideal punctuation for the furious melancholy of this music of immigrants yearning to put down roots.
Hybrid and international, a half-cast from the start, the tango was nurtured by habanera and milonga, as well as Andalusian tango and other African, American Indian or European influences.
This may explain why it was to become as universal as the blues.
what started out as "a sad thought being danced", or a suburban "bordello snake", was eventually to be acclaimed in Parisian salons in the early 20th century. Today, one can hardly imagine the extent of the tango mania which then swept the European continent - starting with "serious" composers like Satie, Stravinsky, Milhaud and others. All kind of things were named after tango : places, drinks, colours...
Paris- based Argentinian Pianist Alberto Neuman first studied the piano in Buenos Aires with Galia Schalman, Juan Francisco Giacobbe and Walter Gieseking. He furthered his training in Italy with Arturo Benedetti Michelangeli, who became his maestro. he settled in Europe about thirty years ago, and he now shares his time between concerts, teaching and research.
Alberto Neuman is interested in sacred as well as popular music, in Debussy (he recorded his La boite a joujoux) and in sound experimentation. He is now preparing recording of combinational music from Mozart to Cage.
Long the Pianist of Mikis Theodorakis, he also interpreted a piano duet with Wilhelm Kempff.
His dream is to perform, solo, the complete set of Satie's Vexation. Whatever spare time he has, he spends on writing a pataphysical Treaty of canine philosophy.
The kitsch which cling rather too closely to tango often make us view it almost as folklore : dusty, exotic and slightly risque. Is it not rather a state of mind, full of the very paradoxes without which invention, like eternity, would be impossible?
01. Ernesto Nazareth - Odeon/Tango Brasilieiro
02. Juan José Castro - Evocacion
03. Juan José Castro - Nostalgico
04. Igor Stravinsky - Tango
05. Gerardo Hernan Matos-Rodriguez - La Cumparsita
06. Astor Piazzolla - Milonga Del Angel
07. Astor Piazzolla - Resurreccion Del Angel
08. Ernesto Baffa - Con Todo Mi Corazon
09. Alberto Ginastera - Milonga
10. Kurt Weill - Youkali, Tango Habanera
11. Darius Milhaud - Tango Des Fratellini
12. Jacob Gades - Jalousie, Gipsy Tango
13. Alberto Neuman - Destruccion IV
14. Isaac Albeniz - Tango
15. Maurice Ohana - So tango, In Memoriam Carlos Gardel
16. Giacomo Puccini - Piccolo Tango
17. Erik Satie - Le Tango Perpetuel
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