I fell in love with something born in 1974
(in praise of Libertango)
Last week I fell in love with something born in 1974. But first some admissions.
I have no idea what western classical music is all about. I run the other way, whenever I am invited to a performance. The only reason I attended a concert in Berliner Philharmoniker, was because it was in Berliner Philharmoniker - oh that hall!
But last week was different. I heard Libertango for the first time, thrown up as a deliciously random Spotify suggestion. And I was blown over.
Well, what is Libertango?
Let me quote from Freshsheetmusic.com -
Astor Piazzolla’s ‘Libertango’ is a timeless masterpiece that continues to captivate audiences worldwide. This groundbreaking composition, deeply rooted in the Argentine tango tradition, broke boundaries and redefined the genre. As one of Piazzolla’s most famous works, ‘Libertango’ has left an indelible mark on the world of music.
Astor Piazzolla was an Argentine composer, and a bit of a maverick. He put into his genius cauldron, elements of jazz, classical music, tango - the works! And Libertango is a terrific example of his work. The name itself is a portmanteau word combining “libertad” (‘freedom’ in Spanish) and “tango”. And the piece - it is almost as if the traditional tango was breaking out of its traditional domicile, and reaching for something completely gravity-defying!
No surprise - the release of ‘Libertango’ marked a turning point in the history of tango. And there were naysayers and there were those who completely loved it. For me it was love on first hear!
But, more charmingly, I found a host of versions of this, each one bringing in the personalities of the performer into their version. It was as if the original, which in any case broke boundaries, was still inspiring artistes to break free.
I give you the original and some of my favorite versions. Enjoy!
First up - the original!
The original is music of certainties. No ambiguities, no heart-rending calls out for exploration or recognition, it is a confident call out to the world to recognize it for its originality and confidence, to come and celebrate everything that is gorgeous and beautiful. To also tell that when we are together we do not have to lose our individualities but can find our voice even amidst an orchestra of sonorous notes: that true beauty does not drown something else but attempts to enhance the other without losing its own voice.
The philosophical and spiritual impact of this number cannot be underestimated.
And now this sumptuous version by the gorgeous Buniatishvili sisters.
Both reveling in chaos, till the very end, not so much diverging into their individual trajectories, as of putting their best forward, seeking to recognize it as something to emulate or follow. And both strands seem to be running in different directions, but still find a middle ground. And that’s when the music becomes transcendental.
Hauser is forever a favorite. He goes to the most amazing locations and plays music which bounces off cliffs and resonates in valleys. Here he is in jugalbandi with a silky Ksenija Sidorova, matching her beat to beat, grimace to smile.
This version is like an interplay between someone going through a poignant moment and someone else consoling him - saying there is more to life, come along. Until they finally get together on the same page - and share the same rhythm and start celebrating together into a gorgeous crescendo.
And now, this version played by the Berlin Philharmonic, with Aydar Gaynullin on the accordion, who seems to explore the number on his own, within the confines of the written note, trying hard to break through, but recognizing that there is beauty in what has to be followed. So much so that the entire initial section seems to be a struggle, an inner turmoil, an attempt to find one’s own voice.
Until he encounters kindred souls, and starts exploring their boundaries, and finds that there are bits and pieces which match, which you can live with - and as time goes by, revel in. Until they all hit the ground together in such a great rhythm, that they start matching each other, note to note. Till it all ends in a stupendous iridescent burst of togetherness.
And to end with, can you have tango music without dance?
This fabulous pair of dancers -- Inna Svechnikova, Dmitry Chernysh - just let it go as Russian Philharmonic belts out a jaunty and pacey version, which is all their own!
Do YOU know any other version which is worth listening to? Do write in!!
I wrote on music before also! On Leonardo Cohen, on Bruce Springsteen, on didgeridoos, on Gustavo Santaolalla. Do dip in!