Re: [TANGO-L] Community Growth - The Next Generation

[luda_r1 <luda_r1 @YAHOO.COM>]

Tom Stermitz wrote:

"Golden era tangos arranged with the dancers in mind
don't put one
dramatic line up front. The rhythms, melody and
harmonies trade off
between the instruments. The orchestra works together
as a whole, not
as backup to a soloist. The singer is "just" another
instrument, and
never takes over to dominate.

This gives the dancer a freer and more "subtle"
experience. You have
multiple ways to interpret the same music. The dancers

become an
integral PART of the orchestra, interpreters with
their own voice.

I prefer the rhythmic playfulness and freedom of the
older tangos."

I couldn't agree with you more. Consider, for example,
Canaro's version of La Cumparsita, with Mario Alonso
singing the single short verse toward the end. The
interchange among the instruments and the vocalist is
positively hypnotic, not to mention the possibilities
it opens up for the dancers. The dialogue is so
subtle. That's what makes it so enchanting. My
absolute favorite Cumparsita. And probably tango as
well.

I also like "Azabache", the Stamponi version. And
Canaro's "El Chino Pantaleon". And, and, and..... I
could go on and on. :)

And I do love to dance to Piazzola, too, sometimes....
:)

Luda

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