64.00 PLN

CD:

Nr kat.: KUK26
Label  : K&K Verlagsanstalt

La Luminosa – The Illumination... revealing the unique quality inherent in things that are unimposing by nature is often a question of the right light, the atmosphere or the surroundings. Have you ever had the feeling of hearing something within a room or hanging in the air without its actually being there? This is how I felt about the music, the concert given by Gabriel Rivano. In the stately ambience of the palace church, the Tango Argentino and the sound of the bandoneon blossomed into a music of deep and intensive feelings… and each time I hear the recording, let myself be drawn back to the moment of the performance and listen to the mood, I think I hear violins in the background. A string orchestra that makes the intensity of Gabriel Rivano’s compositions and the wistful sound of his bandoneon simply float in the air. Perhaps this is only an idea, a dream - being able to experience and enjoy his bandoneon accompanied by a string orchestra on the stage of the palace church. Josef-Stefan Kindler ----------------------------------- Bandoneonist Gabriel Rivano and guitarist Victor Villadangos have been playing together for more than 20 years – on international stages, in chamber music settings and with large orchestras. On their European tours they are joined by the flutist Mónica Taragano and together they make up the “Gabriel Rivano Trio”. Characteristic of this fascinating trio is the way the classical sounds of guitar and flute interact with the subtle improvisations and arrangements of Rivano’s bandoneon. Gabriel Rivano lives in Buenos Aires, where he was born in 1958. He is a bandoneonist, guitarist, flutist and composer who has appeared with different combinations of musicians in concert halls and theatres throughout South America, Europe and Asia. Rivano likes to work with musicians who play different types of music (tango, folk, jazz and classical). In 1990 he formed the “Gabriel Rivano Quinteto". He has written numerous pieces of chamber music and several concerts for this ensemble, including a concert for bandoneon, guitar and orchestra that had its world premiere at the famous “Teatro Colón" in Buenos Aires in 1997. Victor Villadangos was also born in Buenos Aires and is a professor of guitar at the Juan José Castro Conservatory there. He has been touring extensively since 1980, giving concerts and performing both as a soloist and with chamber music ensembles. His concerts have been presented on all of Argentina’s prestigious stages and he has given guest performances in Europe, the United States, Canada, Israel, Japan and Latin America. In 1990, the Konex Foundation awarded him the “Diploma al Mérito" for his artistic achievements. Mónica Taragano was born in Argentina and graduated from the National Conservatory of Music in Buenos Aires, having studied transverse flute with Oscar Piluso. She has competed successfully in many music competitions, including winning the Franz Liszt Prize and been awarded the “Concours Presencias de la Musica" and the “Fondo National de las Artes". In 1996 she went to France on a scholarship and worked with Pierre-Yves Artaud, Mihi Kim and Arlette Biget. Her repertoire is large and extremely varied. Ms. Taragano lives in France and teaches at the Conservatory in Villeneuve St Georges. ----------------------------------- Gabriel Rivano ~ Bandoneón You can play Tango. Astor Piazzolla did. Anibal Troillo did. Leopoldo Frederico did. Many have done, do, and will go on doing it. This is what is expected. But you cannot play with Tango. This is hallowed ground, protected by taboos, punished by social exclusion. Gabriel Rivano is the one and only that has taken this risk, and suffered the consequences. In Rivano's hands, the bandoneón is no longer a vessel for male affirmation. When Rivano places it on his knees, it's a child, it's a toy. Julio Cortázar, one of so many great "porteño" (from Buenos Aires) writers, said that children take their games very seriously, create their own rules -- their own Universe -- and abide strictly to them. When Rivano plays his toy, the bandoneón, he does it with the rigour and abandon of a child. He achieves the utmost playfulness within the strictest rules. Rivano's music swings between these polarities: structure and playfulness. Tynianov, the Russian constructivist from the 20's, wrote: "The artistic fact can't exist outside the submission, the deformation of each and every factor by the constructive factor". This is Rivano's style, his method. Rivano inherits the love for structures from his father and the compulsion for playfulness from his mother: he is born into what in the future becomes his method, his style: his music is a continuous attempt to equate this family polarity, to infuse beauty into and from it. Each of his albums testifies to this struggle. Rivano walks against Tango mainstream when he refuses its inherent violent and dramatic pathos and insists on being playful. The most direct consequence is: with the exception of a single album ("Tradición"), Rivano records and distributes all his albums independently. Each album will overstep a Tango taboo. In "Tradición" he plays the music of his grandfather, Adolfo Perez Pocholo, a famous bandoneón player from the turn of the 20th century. He creates the most modern sounding music out of the most traditional musical material. Rivano rejects the occidental phalacious musical path: onwards, always, towards dissolution. He moves in spirals, recovering bits and pieces from the past at each turn, reinvesting them with the harmonic, timbric, rhythmic conquests of his times. Johann Sebastian Bach straddled the tense line between the sacred and the profane. His music is polarized against these extremes. The bandoneón was crucified against this line: it was originally used to replace the organ in poor churches, and also in brothels. Rivano records "Bach en Buenos Aires" and his own polarity structure-playfulness reflects Bach's and the bandoneon's polarity sacred-profane. Brazilian culture can be summarized by a single word: anthropophagy. Brazilian culture eats and digests all foreign influences. Rivano, as Tinyanov said, submits all his influences to the constructive factor. It couldn't be helped that Rivano felt so attracted to Brazilian culture and expressed this attraction and affection through a record, entitled "Porto Seguro". Piazzolla himself broke with certain streaks of the Tango tradition. He absorbs Bártok and Stravinsky, injecting rhythmic vitality into Tango. He uses Bachian counterpoint, as Heitor Villa-Lobos also did. But he doesn't break the ultimate Tango axiom: he still plays as a "porteño" male, he still uses his bandoneón to affirm drama. Rivano records "Piazzolla en Bandoneón" and crosses cultural barbed wire: he doesn't play Piazzolla: he plays with Piazzolla. Tempestuous Piazzolla, fond of hunting sharks, sits on a sand beach and plays with toys. Piazzolla is treated amorously, playfully. Rivano never had his picture on the cover of his albums. Neither did he record traditional Tango themes, such as "El Choclo" or "El día que me quieras". Sitting on the sands of Ipanema, the same brazilian beach immortalized by João Gilberto, Tom Jobim and Vinícius de Moraes, his wife Claudia suggests why not record Tangos and Milongas, the quintessential "porteño" genres. From the sands of Ipanema, with a cover photograph taken by a norwegian, Rivano continues to cross cultural barbed wire, improvising playfully and rigorously with sacred themes from the Tango repertoire. As Fernando Pessoa, the great Portuguese poet, was characterized, Rivano isalways the same, always different. His polar movement between structure and playfulness repeats, and repeats and repeats, incessantly. This doesn't change. But each movement produces a different album, another work of beauty, another work of transgression, the transgression of a child that has the guts to say that the King is naked, but the King is so much more beatiful naked... ----------------------------------------- Critical Reviews: “Villadangos demonstrated his academic training and refined musicality in his phrasing and interpretation.” ----Juan Carlos Montero - La Nación (Buenos Aires) “Victor Villadangos plays with a natural ease and fluidity making these often-demanding pieces seem effortless. Not only is his playing very clear and precise he has highly developed interpretative skills and is an excellent musician. Highly recommended.” ----Steve Marsh - Classical Guitar - London “Villadangos is a genius, only he can bring out those mysterious sounds on the guitar.” ----Carlos Guastavino - Composer “Villadangos gave us the best of the evening, with his refined performance and musical excellence.” ----René Vargas Vera - La Nación “One of the best Argentine guitarists of today.” ----Roberto Espinosa - La Gaceta (Tucumán) “The rising Victor Villadangos has produced an important recording catalogue.” ----Clarín “…a virtuoso with unassailable good taste, capable of presenting a program without failings...” ----Jorge Aráoz Badí “One of our best guitarists.” ----Pablo Bardin - Buenos Aires Herald