He is, nevertheless, a "cultural force."
I disagree. Piazzolla is popular today in some
spheres of classical music. Popularity does not a
cultural force make. Many mediocre composers in the
history of music have been quite popular without
contributing the least contribution to the culture at
large.
I agree with the latter part, invoking my usual example J.A.Hasse.
In my opinion, Astor's current popularity is
from classical musicians who want to "slum it" with
the "authentic," earthy tango without really getting
their hands dirty.
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.
I am positive- sooner or later Edin Karamazov would do a theorbo rendition
or 2 (he's already done Thelonius Monk and Domeniconi).
Some tried to cash in on the brief Piazzolla resurgence, but none of them
had *the name escapes me for the moment* for an arranger that Kremer had.
Still, although audiences may like to listen to
Piazzolla, his changes to the tango weren't enough to
create a scaffolding that other composers could build
upon. What other significant composers claim Piazolla
as a prime influence? His so-called "New Tango" is
mostly just a traditional tango with some relatively
tame harmonic additions and a modicum of counterpoint
tacked on. In other words, Piazzolla hasn't done
anything to be a "cultural force" that inspires other
to re-think how they write music.
I disagree again. He inspired a good deal of healthy nationalism (mine
included).
If I write a learned fugue in blues style, I haven't
done anything either; I've just written a fugue in
blues style.
That would qualify as exoticism.
How 'bout a fugue on Your Cheatin' Heart?
RT
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