Astor Piazzola interview
A Tv. interview with Astor Piazzolla.
Translation of the interview.. (Thanks to kikefas.. " http://www.youtube.com/kikefas " )
In 1939 Arthur Rubinstein comes to Buenos Aires. I went to a concert he gave, and I fell in love of his way of playing, and of all the new music I listened at that time. I decided to go home and write a concert for Rubinstein with the boldness that I had, myself being eighteen years old. I wrote a concert for piano and went to pay Arthur Rubinstein a visit in his apartment in Buenos Aires.This is a very pretty story because I went there around 1 PM, I rang his bell and out comes a man, logically it was Rubinstein, with a napkin over his clothes all covered with tomato sauce, apparently he was eating his noon spaghettis. He received me very generously, he invited me in, I said I wanted to speak to him. He told me to wait, he ate his spaghettis, and I waited at his piano. He then asked me what did I want to discuss with him, and I told him that I was a big fan of his,that I've had listened to him at Teatro Colón, that I've fell inlove of his way of playing the piano and that I've written a piano concert. He said that he wanted to see it, I showed it to him, and he said that it was just for the piano, he asked for the parts concerning the orchestra, because a concert for piano is not just for piano, but for orchestra as well, otherwise it was just a sonata or a suite, but in the case of a concert there has to be an orchestra.I told him that I didn't know that, that I had just witten the part for the piano. Of course, analizing my famous concert that I wrote when I was eighteen, it was frankly horrible as music, but Arthur Rubinstein started to play the first bars, then he turned around and gave me a very strong but gentle look, and asked me "Do you like music?", I said "Of course", so he said "So why don't you go learn some?". I told him that I went to see him because of that, because I wanted to study music.So he talked to a great conductor who was in Buenos Aires and alive at that time, he was Juan José Castro. Juan José Castro told me to study with Alberto Ginastera. I was the first student Alberto Ginastera had, in 1939. So I began with my first classes, first writings, and first knowledge of music. I started to compose and to understand what music really is. And because of that knowledge, that new culture that I have inside, because of the music itself, I started to make some new arrangements,I started to know about orchestras, I wrote for string quartets in tango orchestras. I was at that time in a very famous orchestra in Buenos Aires, Anibal Troilo's orchestra, and I wrote some arrangements, logically very advanced for 1939, and I saw that many people that listened to those arrangements of mine didn't really liked them, because sadly in 1939, 1940, and even today in Argentina, you can change everything, but tango. It was like converting to another religion,ike going from Christianity to Buddhism, or Muslim. It was very much like that: tango should not be changed, it can't be changed, tango had to remain always in that original 1940 style, and not make it evolve. So I had the happy idea (happy to me of course) to change it, and since 1940 until today I've had the worst of problems in my life just because of one thing: because I've tried to change and evolve a popular music, named "the tango".
Видео Astor Piazzola interview канала hapataat
Translation of the interview.. (Thanks to kikefas.. " http://www.youtube.com/kikefas " )
In 1939 Arthur Rubinstein comes to Buenos Aires. I went to a concert he gave, and I fell in love of his way of playing, and of all the new music I listened at that time. I decided to go home and write a concert for Rubinstein with the boldness that I had, myself being eighteen years old. I wrote a concert for piano and went to pay Arthur Rubinstein a visit in his apartment in Buenos Aires.This is a very pretty story because I went there around 1 PM, I rang his bell and out comes a man, logically it was Rubinstein, with a napkin over his clothes all covered with tomato sauce, apparently he was eating his noon spaghettis. He received me very generously, he invited me in, I said I wanted to speak to him. He told me to wait, he ate his spaghettis, and I waited at his piano. He then asked me what did I want to discuss with him, and I told him that I was a big fan of his,that I've had listened to him at Teatro Colón, that I've fell inlove of his way of playing the piano and that I've written a piano concert. He said that he wanted to see it, I showed it to him, and he said that it was just for the piano, he asked for the parts concerning the orchestra, because a concert for piano is not just for piano, but for orchestra as well, otherwise it was just a sonata or a suite, but in the case of a concert there has to be an orchestra.I told him that I didn't know that, that I had just witten the part for the piano. Of course, analizing my famous concert that I wrote when I was eighteen, it was frankly horrible as music, but Arthur Rubinstein started to play the first bars, then he turned around and gave me a very strong but gentle look, and asked me "Do you like music?", I said "Of course", so he said "So why don't you go learn some?". I told him that I went to see him because of that, because I wanted to study music.So he talked to a great conductor who was in Buenos Aires and alive at that time, he was Juan José Castro. Juan José Castro told me to study with Alberto Ginastera. I was the first student Alberto Ginastera had, in 1939. So I began with my first classes, first writings, and first knowledge of music. I started to compose and to understand what music really is. And because of that knowledge, that new culture that I have inside, because of the music itself, I started to make some new arrangements,I started to know about orchestras, I wrote for string quartets in tango orchestras. I was at that time in a very famous orchestra in Buenos Aires, Anibal Troilo's orchestra, and I wrote some arrangements, logically very advanced for 1939, and I saw that many people that listened to those arrangements of mine didn't really liked them, because sadly in 1939, 1940, and even today in Argentina, you can change everything, but tango. It was like converting to another religion,ike going from Christianity to Buddhism, or Muslim. It was very much like that: tango should not be changed, it can't be changed, tango had to remain always in that original 1940 style, and not make it evolve. So I had the happy idea (happy to me of course) to change it, and since 1940 until today I've had the worst of problems in my life just because of one thing: because I've tried to change and evolve a popular music, named "the tango".
Видео Astor Piazzola interview канала hapataat
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