Music Minus One Flute 3364
Astor Piazzolla Histoire Du Tango and Other Latin Dance Classics for Flute & Guitar ASTOR PIAZZOLLA Histoire Du Tango: Bordel 1900 • Café 1930 • Nightclub 1960 Concert D’aujourd’hui
ENRIQUE GRANADOS (arranged Bury - Reichert)
Danza Españ Española, ola, Op Op.. 37, No.5: And Andaluza aluza (Pla (Playera yera))
PABLO DE SARASATE (arranged Bury-Reichert)
Playera • Romanza Andaluza
https://vk.com/saxplayalong Flute Solo Part
MUSIC MINUS ONE
3364
Piazzolla’s Histoire du Tango and other Latin Dance Classics for Flute & Guitar
] COMPLETE
MINUS
VERSION
FLUTE
TRACK
TRACK
8
SECTION
PAGE
Tuning Notes Astor Piazzolla: Histoire du Tango
1
9
I. Bordel 1900 ........................................................................... 4
2
bk
II. Café 1930 ..............................................................................6
3
bl
III. Night-club 1960 .....................................................................8
4
bm
IV. Concert d’aujourd’hui ...........................................................10
5
bn
Enrique Granados: Danza Española No. 5: Andaluza (Playera) ........12
6
bo
Pablo de Sarasate: Playera ..............................................................13
7
bp
Pablo de Sarasate: Romanza Andaluza ...........................................14
©2001, 2004 MMO Music Group, Inc. All rights reser ved.
MMO 3364
3
Piazzolla’s Histoire du Tango and other Latin Dance Classics for Flute & Guitar
A
stor Piazzolla was born in Ma r del Plata, Argentina, on 11 March 1921. His parents, descendants of Italian immigrant s, took the young boy to thei r new home in New York in 1925, at the very height of the jazz age. The great metropolis of New York with its dazzling electricity had a monumental effect on the young Piazzolla. On his ninth birthday, he was given a bandoneon by his father; a nd this cherished gif t would become t he ce nter of h is life a nd t he basi s of his fame. He took lessons and became enamored of classical music. At the same time, he was fascinated by jazz, played the music of Gershwin endlessly, and would spend countless hours at the door of the famed Cotton Club, listening to Cab Calloway, Duke El lington, and others—though he was too young and too poor to ever hope of entering t hat hallowed ground. In 1937 the family returned to Mar del Plata. Of course the adolescent Piazzolla could n’t wait to get bac k to the big c ity, and at sixteen he moved himsel f to Buenos Aires. He got a job playing his bandoneon in a band and continued serious musical studies under the soon-to-be-famous composer Alberto Ginastera. He continued experimenting musically and started a band, then an orchestra—but both were failures. In the 1950s Piazzolla traveled to Paris to study with famed composition teacher Nadia Boulanger, who directed him toward what would become his signature compositional style: the tango, shaped through both classical and jazz styles. Once back in Argentina, the experience in Paris proved the key to unlocking his future: his “modernist” tango music became immensely popular, des pite op posit ion from trad itionali sts. I n 1986 famed guitarist Roberto Aussel commissioned the Histoire du Tango , which represented a challenge, in that it was Piazzolla’s first piece wr itten for guit ar. It is a suite of four pieces for flute & guitar duet, roughly suggesting the tango’s development over a hundred-year period from the year 1900: Bordel 1900: This lively, happy tango represents the early years of the tango form. Havi ng originated in Buenos Aires about 1882, the tango was first performed on guitar and flute. This piece evok es the ha ppy chatter found i n bordel los in tu rn-of-the century Argentina. Café 1930: By the era of t he Great Depression, the ta ngo’s place had changed. Instead of being solely a dance, its rhythms began to function as pure listening material. Lyrical romanticism and a sense of fantasy helped to transport people out of their everyday troubles, and the more languid pacing encouraged thicker orchestration. The typical tango orchestra now consisted of two violins, t wo bandoneons, a piano and a double-bass. Night-club 1960: The international post-war era is evoked in this lively piece, which illustrates the influences of other dance forms, such as the bossa nova. Nightclubs became a focal point for tango music during this era, and the form changed dramatically. Concert d’aujourd’hui: The late twentieth century, with its integration of modern a nd post-modern musical styles, comes to the fore in this tango in which can be heard influences of Stravi nsky and Bartok, among others. It represents a revolution in the tango, one which stands firm even though it, too, will not resist change as ti me goes by.
Astor Piazzolla died in 1992, and with his death a chapter closed on 20 th -century Argentina’s musical history. He brought a singular style to the tango genre, one which has never been duplicated. Today his legacy remains a legendar y part of Arge ntina’s musical soul, both as groundbreaking composer and also as Buenos Aires’ most important bandoneon player. He spent his life extendi ng boundaries, and today it is almost universally acknowledged that Piazzolla elevated the tango to a sublime art form.
]
The other pieces on this album represent the Latin dance idiom in the late nineteenth century, the period immediately preceding Piazzolla’s musical rise. Enrique Granados was one of the great figures of that period. Born in Lérida, Spain, on 25 July 1867, his initial studies in composition and piano took him to Barcelona and to Paris. In the 1890s he returned to Barcelona and there gained great acclaim as pianist, though his compositions were not as revered in his home country as they were in France and abroad. He wrote many popular zarzuelas (Spanish operettas) which held strong in Spain, but his other music was perhaps too eclec tic for many of his count ry men. His famous Goyescas premiered i n 1914 and are st ill considered pe rhaps his best works. He adap ted t hem into an opera which he premiered at the Metropolitan Opera in New York on 28 January 1916. Unfortunately, on his return trip, his ship was torpedoed by a German U-boat and he and his wife perished. The Danza Española No. 5 forms par t of a suite of twelve dance works, original ly writte n in the 1890s for piano solo, representing various aspects of Spanish culture. This Andaluza, which is perhaps the most famous of the set, is a charming, romantic expression of the best Spain has to offer in dance music and reflects Granados’ complete command—when he chose to utilize it—of the Spanish national character.
] Pablo Martín Melitón de Sarasate y Navascuéz was born in Pamplona, Spain, on 10 March 1844. His father was a military bandleader, and the boy was understandably immersed in music from a young age. He became a prodigy of grand pro por tio ns af ter a conce rt at age 8 in La Cor uña . I n M adr id the queen presented him with the Stradivarius which he would utilize for his entire career. He studied both in Madrid and later at the Paris Conservatory. His fame was international and his tours of North and South America with composer/conductor Eugene d’Albert were tremendously successful. He was a favorite interpreter and frequent dedicatee of composers such as Max Bruch, Cami lle Saint-Saëns and Edouard Lalo. Sarasate was a colorful character whose violin performances were legendary and whose compositional abilities were distinguished by many last ing and much-loved pieces; he valued Spanish national music and wrote many works which celebrated its rhythms and melodies. His Playera and Romanza Andaluza are pri me examples of his beauti ful wr iti ng and these arra ngement s for guitar and flute are elegant attestations to his importance as a Spanish composer par excellence . —Michael Norell
MMO 3364
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HISTOIRE DU TANGO Flute
I. Bordel 1900 Y19
Two measures of taps 4 taps) precede music
Astor Piazzolla (1921-1992)
Molto giocoso 1
5
9
3 3
13
17
3
21
10
25
3
29
3
sim.
3
33
3
37
3
41
Fin
45
48
MMO 3364
© Copyright by Editions Henry Lemoine, 41 rue Bayen 75017 Paris All Rights Reserved. Reproduced by permission.
5 52
56
60
molto accentuato 64
3
68
71
75
80
85
7
89
93
98
103
Lento
a Tempo
108
D.S. al Fine MMO 3364
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II. Café 1930 Y2bk
rall. Guitar
Guitar
3
15
molto espressivo 21
5 26
6
a Tempo
30
accel.
molto cantabile 34
37
rall. 40
43
ad lib.
dolce rall.
46
a Tempo tristemente
50
accel.
55 5
MMO 3364
rall.
3
7 60
lentamente
rall.
62
5
64
3
ad lib.
68
78
accel.
rall.
82
molto espressivo 88
5 92
6
a Tempo
96
accel.
molto cantabile 100
104
108
rall.
111
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Flute III. Nightclub 1960 Y3bl Deciso
accentuato
Guitar
5
9
13
17
Deciso
21
5 25
rall.
rubato
Lento molto cantabile
7 30
rall.
Pesante ( a Tempo I) tristemente
36
40
a Tempo lentamente cantabile
44
3
rall.
49
54
Deciso (Tempo I) T
MMO 3364
T
T K T K
T
T
T K T K
T
T
T K T K
T
T
T
T
T
T K T K
T
T
T K T K
9 60
64
(frullato) . G l i s s
s. G l i s
sim. . G l i s s
(legno) 69
73
77
Deciso
81
85
Lento rall. molto
a Tempo lentamente
cantabile
92
97
3 102
doloroso 6
Tempo I Molto deciso
107
111
115
119
124
(frullato)
(legno)
(frullato)
(legno)
(frullato)
(legno)
MMO 3364
10
Flute IV. Concert d'aujourd'hui Y 4bm Presto, molto ritmico Guitar
7
11
15
19
23
27
31
35
39
43
6
47
MMO 3364
6
dolce
11 52
56
3
60
64
69
73
Guitar
78
83
87
91
96
101
106
111
. i s s G l
MMO 3364
12
Flute
Danza Española No. 5
Transcribed and edited by Katarzyna Bury
Enrique Granados (1867 - 1916)
Y5bn Andantino quasi Allegretto
9
16
marcando rit.
23
a tempo
più piano 30
dolce
Andante
a tempo
più dolce e rall.
con molta espr.
37
poco
rit.
44
3
5
meno
3
51
6
3
58
6
molto rit.
3
7
Tempo I
64
3
6
10
72
poco rit. a tempo
79
86
90
poco rit.
a tempo
più tranquillo
più poco rit.
a tempo
morendo
MMO 3364
13
Flute
Playera
Transcribed and edited by Katarzyna Bury
Y6bo Lento
Pablo de Sarasate, Op. 23, No. 1 (1844 - 1908)
-
Flute
Guitar
3
a tempo
rit.
6
sub.
3
13
5
5
5 5
19
5 5 24
3
29
3
cresc.
dim. rit.
35
a tempo
cresc. 41
sub.
3
47
(dolce)
3
53
(dolce) 59
3
65
3
cresc.
sub.
dim. 74
3
dim.
MMO 3364
14
Flute
Romanza Andaluza
Transcribed and edited by Katarzyna Bury
Y7bp Guitar
Flute
molto espressivo
Pablo. de Sarasate, Op. 22 No. 1 (1844 - 1908)
9
15
21
espressivo 27
33
39
45
51
55
cresc. 59
62
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molto espressione
15 65
67
5
70
poco piu lentoespressivo
poco rit.
77
molto espressivo
poco animato
Tempo I
3
3
83
3
3
3
3
3
energico
89
3
94
97
5 102
104
tranquillo
109
115
MMO 3364
SUGGESTIONS
FOR USING THIS MMO EDITION
wE HAVE TRIED to create a product that will provide you an easy way to learn and perform a concerto with a full orchestra in the comfort of your own home. Because it involves a fixed accompaniment, there is an inherent lack of flexibility in tempo. The following MMO features and techniques will reduce these inflexibilities and help you maximize the effectiveness of the MMO practice and performance system: Where the soloist begins a movement solo, we have provided an introductory measure with subtle taps inserted at the actual tempo before the soloist’s entrance. We have observed generally accepted tempi, but some may wish to perform at a dif-
ferent tempo, or to slow down or speed up the accompaniment for practice purposes. You can purchase from MMO specialized CD players/recorders which allows variable speed while maintaining proper pitch. This is an indispensable tool for the serious musician and you may wish to look into purchasing this useful piece of equipment for full enjoyment of all your MMO editions. We want to provide you with the most useful practice and performance accompaniments possible. If you have any suggestions for improving the MMO system, please feel free to contact us. You can reach us by e-mail at
[email protected].
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Pub. No. 00121
Printed in Canada
