On Dec 1, 2007, at 6:32 PM, Roman Turovsky wrote: > I disagree here. Piazzola is only "popular" among the musicians > (and aficionados) of the Gidon Kremer circle, who were able to > discern quality not readily apparent in Piazzolla's own renditions > of his own music (these can be really insufferable, overspiced with > washboard, etc.). I personally find Kremer's arrangements utterly > convincing, the definitive Piazzolla, that Pizzolla himself > couldn't accomplish.
Hi Roman, Okay, well, L'Histoire Du Tango is well known in the classical music community, and well-beloved by flutists. But that aside, I agree with you about the "washboard" effect, i.e. hitting the guitar as if it was a bongo drum?, but if Kremer's arrangements achieve "what Piazzolla couldn't himself accomplish," how can they be definitive? Or, of what are they definitive? The true arbiters of taste in the tango cuture reside in Buenos Aires: they define what goes on in tango, which is where Piazolla'a music is coming from, despite his retutation as a poor example of a "great composer" in the European sense. > He inspired a good deal of healthy nationalism (mine included). He certainly got me, not an Argentinian, interested in tango. > How 'bout a fugue on Your Cheatin' Heart? Cool! I'll be lookin' for the chicken-picken' version for Baroque lute on your website, Roman! DR [EMAIL PROTECTED] -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
