Tangos Milongas Habaneras For guitar.pdf

Milongas Habaneras for guitar

Compiled by Matanya Ophee and Melanie Plesch

With an Introduction by Melanie Plesch Edited by Matanya Ophee

Editions Orphée

Introduction Probably the most popular Argentine urban dance and Song form, the tango appeared in the slums surrounding Buenos Aires during the second half of the nineteenth century, although it was only after i 880 that it acquired a relatively definite musical configuration. The tango was originally cultivated in houses of ill-repute, and its practice was initially clandestine mostly because of its daring dance movements. During the early years of the twentieth century it was gradually taken up by the lower classes and, after its Parisian success in about i g 1 1, it was also adopted by the then Francophile Argentine upper classes. The origins of the tango are unclear and have been the subject of many heated arguments among specialists. Opinions have varied as to whether its antecedents are African, Spanish or criollos, these possibilities being regarded as mutually exclusive. Followers of different theories would dig up and summon an incredible amount of historical facts and musical evidence to support their views, some more felicitous than others. As to be expected, current scholarship tends to be less axiomatic and more relativistic, and thus considers that even though some musical features of songs and dances such as candombe, milonga, habanera and Andalusian tango can be detected in the Rioplatense' tango, a mechanical, causal relationship should not be drawn. According to this view, the tango is far more than a mere hybrid of nineteenth- and early twentieth-century popular dances and songs. Accordingly, reducing its genesis to a genealogical tree does not help us understand this complex musical, choreographic, literary and socio-historical phenomenon. The history of the tango as it dmeloped in Argent i n is ~ usually divided into three periods: from the beginnings until 1920 (the Guardia Vieja [Old Guard] ) , from 1920 to 1955 (the Guardia Numa [New Guard] ) , and from 1955 to the present da^.^ Early tango ensembles included flute, violin and harp, guitar or piano. The distinctive ensemble Rioplatense: a Spanish adjective designating that which pertains to the region of the Rio de la Plata. 2. The distinction is intended to point out that the tango has also been cultivated outside the Rioplatense area, initially in Paris, London and New York, and after WWII in countries as remote to Argentins, both geographically and culturally, as Japan and Finland. Some authors consider that the tango abroad is an ahistorical phenomenon (see Ruiz: Componentes simbblicos...), while others interpret it in the major framework of strategies of exoticisation of the Other by colonizing countries and Self-exoticisation on the part of the colonized (See Savigliano, lango...).

known as orquesta tzlpica, consisting of guitar, bandoneon, violin and/or flute, developed from about i g 1o. After i g 15 the piano increasingly assumed a more prominent role together with the bandoneon, whilst the guitar and the flute were progressively abandoned. The tango of the Guardia Vieja is a tripartite "th a distinctive rhythform in duple meter (2/4), mic pattern. It has a slow harmonic rhythm, with modulation restricted to the neighboring tones, and its melody presents instrumental features such as sawtooth profile and broken-chord patterns. El apache argentino in the present collection (p. 2 ) is a clear example. It has three sections (A, B, and a trio), the first one is set in the tonic major, the second in the tonic minor, and the trio in the subdominant. As is also common in Guardia Vieja tangos, the first two sections are similar in character and their melodic and rhythmic configurations are related, whilst the trio introduces new thematic material and a different mood to the piece. It is common for tangos of the Guardia Vieja to begin on a sixteenth-note rest. This type of beginning is called comienzo acéfalo or headless beginning as in the opening motives of El apache argentino, El choclo (p. 1 ) and Union CzVica (p. 1 2 ) . Another distinguishing attribute is the appogiatura bordata or embellished appogiatura made up of a sixteenthnote triplet. We find it in El apache argentino (m. 2 ) and El choclo (m. 2). One of the most distinctive features of the tango, and perhaps the most difficult to verbalize, is its texture. Scholars agree that the tango texture, despite its appearance, is not a melody with accompaniment, but the overall result of the interaction between both. This interaction varies from one performer to another and even in different versions by the same musician. It encompasses the play of several rhythmic nuances, such as accent displacements and syiicopations, and the use of extemporaneous rubatti, accelerandi, and ritenuti. From 1910 onwards, the lyrics of the tango developed from crude refrains towards more elaborate poetic expressions. First, texts were added to existing instrumental tangos as in the celebrated Mi noche triste ( 1g 15) by Samuel Ca~triota.~ Its initial motive, an ascending arpeggio in the range of a tenth, discloses its instrumental inception. Soon tangos with a more cantabile melodic line began to be composed, a process that would transform the tango from a primarily instrumental dance form See: Domingo Prat, Tangos de la Guardia Viga, Editions Orphée. Columbus: 1995,p. 9.

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into the genre known as tango-cancibn (tango-song). Enrique Delfino's Milong-uita ( 1920) is usually regarded as the first tango deliberately conceived to be sung. The tango of the Guardia Nueva developed two different strains, the instrumental and the vocal. Many composers and performers who explored different stylistic and expressive directions appeared during this phase. In discussing Guardia ~liueuatangos, composers are customarily grouped into two categories, the progressive and the conservative. Juan Carlos C o b i h , Enrique Delfino, Carlos Gardel, Julio de Caro and Pedro Mafia represent the progressive tendency, while the conservative line is identified with Francisco Canaro, Roberto Firpo and Francisco Lomuto. The instrumental ensemble developed into a sextet of two band o n e h s , two violins, piano and double-bass, a configuration that could be enlarged for special occasions. The structure of the tango, both instrumental andvocal, evolved during this period into a two-part form, the first section having a strong rhythmic character and the second one in a lyric mood with a more cantabile melodic line. El ciruja (p. 2 2 ) and Que nadie se entere (p. 23) can serve as characteristic examples. The fifteen years between ig4o-ig5j are considreed to be the tango's golden age. It was the most popular form of musical expression of Buenos Aires, with a strong presence in the mass media and the cinema. After 1953 it entered a period of decline, due in part to the impact of "pop music" and the so-called folk-boom. It was also the time when a group of composers and performers began to explore an innovative language. Perhaps the most renowned was Astor Piazzolla ( i 92 1- i 992), a musician who combined a solid academic training with a deep knowledge of the tango. His work connects the worlds of tango and art music and is considered to have had a deep influence on both repertoires. Among his most renowned works one should mention Adibs Nonino ( 1939), Tres minutos con la realidad ( 1937), L a camorra ( i 989), Balada para un loco ( i 969), and Concertfor bandonebn, strings and percussion ( i 979) . 4 Throughout its history the tango was mainly transmitted as a11 oral phenomenon. Most tango musicians, particularly those of the Guardia Vieja era, could not write nor read music notation, and even if they did, writing down the music and followOmar Garcia Brunelli, "La obra de Astor Piazzolla y su relaci6n con el tango como especie de musica popular urbana", in h i s t a del Institut0 de Investigacibn Musicolbgica "Carlos Vega': 1 2 , 135- 2 2 1, 1992;and "Astor Piazzola", in Diccionario de la Mcsica Espafiola e Hispanoamericana, forthcoming. 4.

ing it to the letter was not their priority. Popular musicians had their compositions written down by an amanuensis proficient in music theory in order to register them, hence the resulting score is usually a mere skeleton of the live version, which might adopt multiple, variant forms. Some of the guitar transcriptions included in the present publication, particularly those by Rodriguez Arenas, Luisa M. d e Roca, and N. Casuscelli, are based upon a previous version for piano, a fact that is clearly recognized by the simplicity of their lines and texture and, of course, by a comparison with the piano score. Others, like those by Antonio Sinopoli and Julio S. Sagreras, differ in small but significant details from other published versions, a fact that suggests that they were based on one or several performances heard by the arrangers. We are thus confronted with a peculiar phenomenon, existing as a continuum between oral and written traditions. As it is the case with many other popular genres transmitted orallly or that rely only in part on notation as the starting point for improvisation, establishing the musical "text" for a particular tango is clearly an impossibility. Mie will always have only versions, variants. The performer interested in enriching her or his version should listen to and compare as many recorded versions as possible, particularly those contemporary to the pieces.

With the exception of Que nadie se entere and El ciruja, the tangos included here belong to the Guardia Vieja or are styled after them, as in the original tangos by Sagreras and Morales. The audience to which both these transcriptions and original compositions were addressed comprised of the middle class guitar amateurs. Some of the pieces are technically accessible, clearly aimed at the student market, while others show an intermediate degree of technical complexity, thus pointing towards the guitar aficionado looking for a gratifying repertory. Perhaps the most celebrated of the Cuardia Vieja tangos, El choc10 (p. 1 ) was composed by Angel Villoldo between i 903 to i 905. It was premiered by José Luis Roncallo at the restaurant El americano in i 905. A multifaceted artist, Villoldo was a payadol; a circus actor and a playwright. He also played piano, violin, guitar, and harmonica, and conducted a small tango orchestra at the Caféde 1asFlores. His tangos are said to reflect his heterogeneous background, bringing together different traditions such as that of the puyadores, the milonga of the outskirts, the music of the zarzuela and the cm'ollo circus. Towards 1907 he toured Europe with Flora and

Alfredo Gobbi, and made some recordings for a French Company. Upon his return to Buenos Aires he became a journalist, and published regularly short dialogue-pieces and narratives in cri0110 style for the magazines Caras y Curetas and Fray Mocho. This indefatigable artist finally founded a conservatory, which would be his main source of income until his death in 19 19. According to a much repeated story, the title of El Choclu-which literally means "the corn cob"actually refers to a corn cob. A type of cheap restaurant existed in those days, where for a few cents the customers were entitled to spear5 something from an immense pot of pu cher^.^ Anything could emerge from the pot, a carrot, a potato, or the much sought corn cob. In some varkants of the story, Villoldo and a few friends are trying to spear a corn cob at one of these places, whilst others purport that Villoldo had made a bet that he would pick up the desired vegetable. Be that as it may, Villoldo apparently composed El choclo to memorialize the episode. The fact that it was immediately transcribed for the guitar by as fashionable a guitar teacher as Sinopoli, who published it as his opus 1, bears witness to this tango's immense success. El choclo was sung to three different texts. The first one was written byvilloldo himself, the second by Juan C. Marambio Cath and the third-and most famous-by Enrique Santos Discépolo. Discépolo's text is a melancholic celebration of the tango, which relishes in al1 the common attributes of the genre: the longing for the past and the tango's humble origins, without failing to provide a veritable parade of tango characters: paicas, grelas minas and ~ e b e t a sgauiones, ,~ bacanes, shushetas, canas and r e o ~Needless .~ to say, the text makes no reference to corn cobs whatsoever and, in fact, its melancholic pathos contradicts this tango's humorous inception and the playful spirit the music seems to convey. Three tangos in the present volume are transcriptions by Antonio Sinopoli ( i 878- i 964), one of the many guitarist-composers who flourished in Buenos Aires during the first decades of the twenHence their name of "fondas del pinchazo," from "pinchar" or to spear. In some versions the element used was a ladle. 6. Meat and vegetable stew. '. Lunfardo words for girls and women with slightly different connotations. Lunfardo was the hermetic and constantly changing slang of the underworld, no longer used anywhere except among specialists, which even a native of Buenos Aires can only understand with the aid of a specialized dictionary Lunfardo terms used for different types of men proper of the tango imagery. Gavion: a seducer; bacfin: a wealthy man; shusheta: a dandy; cana: a policeman; reo: a good-for-nothing.

tieth century. Originally a disciple of Julio S. Sagreras, he "converted" to the so-called school of Tarrega after Domingo Prat's arriva1 in Buenos Aires. In 1907 he founded a guitar academy that enjoyed much success among young ladies of portefiog society (gentlemen also attended, but in lesser numbers) . A prolific composer, he published more than a hundred original works, most of them styled after Argentine and Latin Arnerican folk dances and songs, as well as many transcriptions for the guitar. Sinopoli's version of El apache argentino (p. 2 ) , published as his opus 15, was dedicated to Adolfo Luna ( i 889- i 97 i ) , a well known guitarist-composer of the period, brother of vice president Pelagio Luna. El apache argentino is one of three extremely successful tangos by Uruguayan-born pianist and composer Manuel Aroztegui ( i 8881938).Io Initially a self-taught musician who played guitar, mandolin and violin, he studied piano and music fundamentals in Buenos Aires, and eventually became the leader of his own tango ensemble. About 1912 he formed a trio with Juan Manuel Firpo (bandoneon) and Paulino Fasciola (violin), to whom he dedicated El apache argentino. The ensemble played in fashionable cafés such as the Maraton and at the film-theater El capuchino, where El apache argentino was premiered in i g i 3. The first known edition dates back to that year and is subtitled tango compadrito. Text added by Arturo Mathon to an originally instrumental tango, enjoyed great popularity. A version sung by Mathon himself was recorded by Columbia about i 9 i 3- i 4 (record # T860 59 100). l l As is common with many tangos of this period, the lyrics depict and celebrate the idiosyncrasy of the compadrito, a paradigmatic figure of the tango world. Es el apache argentino el tipo fiel de una raza que se echa a ver por su traza la astucia de su valor

Acharacter of the outskirts, he is depicted as the "faithful type of his race" (line 2 ) whose courage

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Y Portefio/a is an adjective for a person born in the cit) of Buenos Aires. Also used to describe that which pertains to Buenos Aires. For example, Piazzolla's V m n o Porterio, Ineans A Buenos Aires summer. 'O The other two are El cachafaz and Champagne ïango. '].No printed copy of the original text has yet been located. The version included here is based on the transcription of the lyrics included in the leaflet of the Antologia del Tango Rioplatense. Desde sus cornienzos hasta 1920. vol. I. Buenos Aires: Instituto Nacional de Musicologia "Carlos Vega," 1980, hereinafter ATR.

and shrewdness can be appraised just by his looks (line 3). Immediately after his aggressiveness and code of honor are brought into play. We learn that he will take revenge against anyone who dare touch his woman:

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;Y ay de aquél que se atreviera a hacer de su amor ultraje! Ha de vengar con coraje La chinita de su amor

In the second section we learn that he is daring, proud and shrewd (line g), that he knows how to fight with a knife ( 12- i 3) and is a man "of action" ( 15). He won't be afraid of anybody, be it a dandy or a thug (17-18): Astuto, altivo y muy valiente Siempre ha sido [ . . . ] de alpin brib6n 12 Y sabe jugar la vida por medio de su puBa1 JamAs pele6 desprevenido porque como hombre que fue de acci6n 16 Defiéndese como bravo Y no 10 asusta ni 10 arredra Ni un canfinfle ni un maton.

The last lines make reference to his noble heart and his relationship with the establishment. He is an outlaw, the target of the "hand of justice," and perhaps has been already in prison: Es el [ . . .] heredado de la fortuna, si tiene, y que por riqueza tiene 22 muy noble su corazon. Es blanco de la tortura de la mano justiciera y tiene en su alma altanera 24 [. . . ] de una prision.

Julio S. Sagreras ( i 879- i 942) played a crucial role in the development of guitar activities in Buenos Aires at the turn of the century. He studied guitar with his father, the Spanish guitarist Gaspar Sagreras, and took harmony and composition courses with Carlos Marcha1 at the renowned Conservatom'o de Musica de Buenos Aires. In 1905, he founded the Academia S a p a s , the first institution devoted solely the teaching of the guitar in Argentina. A prolific author, he published more than i 50 pieces, including compositions of his own and transcriptions. He also wrote a six-volume guitar method, Lecciones de guitarra, which has enjoyed a long-standing, worldwide success. His catalogue includes a considerable number of tangos, both original and transcriptions. Three of the latter, El pibe, op. 124, (p. 3) Langostas, OP.

16 (p. 4) and Tocalo masfuerte, op. i 22, (p. 6) were published under his name, whereas the remainder were printed under the pseudonym Resgrasa, an acronym of his surname. El pibe (the kid) was composed by Vicente Greco, one of the most influential tango musicians of his generation. Born in Buenos Aires in 1888 into a family of immigrants, he showed a talent for music at an early age. He taught himself to play flute, guitar, and piano. In 1903 he began to explore the bandonebn, which he studied further with Sebastih Rarnos Mejia. Greco started his professional career in i 907, as a member of a trio that played at the brothel of Maria Sosa, in the town of San Pedro. In i go9 he played in ensemble with two guitars at several cafés in the traditional area of La Boca. During those days he frequented the company of several tango musicians, among them the piano player Prudencio Aragon, nicknamed "El Johnny," to whom he dedicated El pibe. In i g i O he started playing in the circuit of fashionable cafés at the centre of the city and where he enjoyed immediate success. He also became a successful recordingartist. In i g i i he recorded Elpibe (el Yoni)for the Columbia label (T2 16 55403). Greco remained a leading figure of the tango world until his death in 1924, at the age of thirty-six. Despite the enormous literature produced by tango scholars, no information has been found on Mauricio Montiano, the author of Lang0sta.s (literally locusts). The facts of P. Nicolin's life are also a mystery. We do know that his tango Tocalo masfuerte was recorded by the Banda Municipal de la Ciudad de Buenos Aires in i g i i , thanks to a copy of the recording kept at the Institut0 Nacional de Musicologia (hereinafter INM). Characteristically of tangos of the Guardia Vieja, there is a double entendre in the title. The meaning of the verb tocar is "to play," but it is also "to touch." On the other hand, the adverb fuerte may mean loud, but it may also mean strong. Thus, the meaning of the title might be interpreted as "play it louder" or as "touch it harder." The manifold possibilities of what is denoted by "it" are left to the reader's imagination. It is not clear why Sagreras used a nom de plume to publish the transcription of six tangos. In his influential Diccionario de Guitarristas, Domingo Prat identified him as the name behind the pseudonym of Resgrasa. Fr-om then on, the authorship of those tangos has been indisputably credited to Sagreras. However, recent research has shown that some of them, if not all, were also published in piano version by Jacinto Ruiz Fernhdez. The present publication includes five of these tangos, El cm'ollo, No se permite (It is not allowed), Cbmo le va del ojo ? (How is your eye doing?), La negi

rita, and Golpea que te van a abrir (pp. 7- i i ) . It is possible that at least some of the titles have hidden allusions that we are notable to unveil. It is not clear what is "it" that is not allowed in No se permite. It might be smoking, singing, talking politics, kissing in public, male dancing, etc. Similarly, we do not know if the eye referred to in the title of Como le va del ojo?is merely the ocular organ or if it has coarser connotations, particularly taking into account that in vulgar speech the word eye is sornehow related to the anal orifice (as in ojo del culo) . Golpeh que te van a abrirwas recorded by the BecaOrchester band in 1908.12The title has a sarcastic connotation that might be translated as " [yea, right] knock that it will be opened." Alegend below the second measure (present in the piano version but not in Sagreras's transcription) reads la puerta (the door),which suggests that the rhythmic motive in the accompaniment is iconic of a knock on the door. Mario Rodnguez Arenas ( i 879- i 949) was a successful guitar teacher and a prolific composer and arranger. He studied guitar with Angel del Valle and harmony with Enrique Morera, but for the most part he was a self-taught musician. He wrote a large number of works for guitar, mostly styled after Argentine folk dances and songs, and published an enormous amount of transcriptions drawn from al1 repertories. His transcription of Domingo Santa Cruz's Union Civica (p. i 2 ) was published as his opus 42. The bandoneon player and composer Domingo Santa Cruz ( 1884- 1931) is regarded as a crucial figure in the history of tango. He played mandolin and guitar as a child; later his father introduced him to the bandoneon. He formed a tango group, with which he played in cafés and nightclubs of Buenos Aires and Montevideo. Due to il1 health he retired from public performances and set up a dancing academy. He was renowned for his brilliant improvisations and was one of the first bandoneon players to adopt the enhanced keyboard. His practice was influential in the establishment of the bandoneon as an instrument of tango music. Union Civica was his first tango, premiered in 1904. It was recorded in i g 1 2 by the Orquesta Pacho for the Columbia label (T537 56614) . 1 3 Throughout his long and successful career, Roberto Firpo ( i 884- i 969) witnessed the rise and fa11 of tango in Argentina. Initially untutored, he later took lessons with the famous tango pianist Alfredo Bevilacqua. He played in several tango ensembles until, in about 1g 13, he formed his own A copy of this recording is kept at the INM. 13. A copy can be found at the INM.

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group, with which he recorded for the Era label. He did much to establish the piano as a permanent feature of tango music in place of the then old-fashioned guitar. Originally a trio, his group grew in number, and by the 1930s it was a full-sized tango orchestra. Published by Domingo La Salvia in i g 14, Sentimiento cri0110 (Creole Sentiment, p. i 3) one of his early tangos. Rodriguez Arenas's transcription was published as his opus 66. Francisco Canaro was born in Uruguay in i 888. He moved to Buenos Aires with his family when he was a child; he became eventually a naturalized Argentine citizen. Self-taught, he began his career in i 906 playing mandolin and violin in a bordel10 in Ranchos, a town in the province of Buenos Aires. He toured several such establishments in the province of La Pampa until he went to Buenos Aires in 1908, where he played in various groups in cafés and nightclubs. In i g i 6 he formed his own orchestra, with which he won acclaim and which he conducted until his death in 1964. He wrote a large number of tangos, and the music for several revistas musicales or vaudeville plays. El chamuyo (literally, the slang, p. 14) is one of his earliest works. It was published by Juan S. Balerio in about i 9 i 4 and was dedicated by the author to Lorenzo Labiscier and Juan Abate. The transcription included here was published as Rodriguez Arenas's number 62. The text of El chamuyo is a completely untranslatable celebration of lunfardo: Se bate, se chamuya, se parola, se parlamenta reo como grilo y aunque la barra bufile de estrilo en lengua 'e chile es un bacin de bula. Si es Mchenzo el cafafia y no la grula 10 catan pa'l fideo manco de hi10 y hay cada espamentoso tirifilo mis puntiagudo que zapallo angola. El chamuyo cafiolo es una papa cualquier mistongo el repertorio fiapa y es respetao cuando 10 parla un macho a veces si otros cambas se 10 empardan hay programa de espiche en la busarda O se firme con un feite en el escracho.

José Martinez ( i 890- i 939) was a self-taught musician. He began his career playing piano in various tango ensembles, among them those of Eduardo Arolas and Francisco Canaro. He dedicated El pensamiento (p. 16) to the celebrated tango musician Samuel Castriota. Rodriguez Arenas's transcription, published as his opus 43, was in turn dedicated to Francisco Diego, one of the associates of the guitar publishing firm Diego, Gracia & Cia. El pensamiento is about a man disappointed in love. The text, by Francisco Garcia Jiménez, plays with the polysemiosis of the title, which may denote

both a flower (a pansy) and a thought. The protagonist is reading with sadness words written by his beloved in the past. A dried pensamiento falls from uithin the leaves. He reflects upon the dead flower-which, we learn, she once gave him-and the fact that his thoughts and memories are still very much alive. Al releer tristemente paginas de honda ternura, rueda a mis pies el cadfiver de una flor que yacia entre palabras suyas... Fior que luci6 noblemente, con pintoresca hermosura, prueba de afecto profundo en el ayer... y hoy fantasma del fugaz querer !...

Muerto pensamiento, que ella un dia me ofreci6: otro pensamiento ha perdurado tu existir; el de mi mente, siempre vivo, que en los recuerdos esta cautivo. Horas que entre dichas amorosas vimos ir: guarda el pensamiento vuestro aroma embriagador, eterna flor que yo cultivo con cilido fervor. En mi soledad mi mente emprende un vuelo, rehïiye la cruel verdad y otra vez hasta los cielos donde puso sus anhelos se va ... Soy feliz asi, a solas con mis sueiios, que en ese mundo aïin soy duefio del bien que en este mundo ya perdi.

Rodriguez Arenas's opus q is the transcription of Hasta luego Ché (p. i 8 ) , a fact that attests to this tango's old age. Little is known of its composer, E. G . Calderon de la Barca, other than the title of some of his tangos: Ah tigre, Asisoy yo, El viudo alegre, iC6m0 le va, amigo? and Sacale 10 desparejo. We do know that he also wrote waltzes and a two-step, Messengers of love (in English in the original). The Afro-Argentine guitarist and composer Enrique Maciel studied music as a child at a Catholic school in Buenos Aires. He began his career about 1915 and soon won fame as an accompanying guitarist. Although he wrote a considerable number of tangos, his greatest hit was undoubtedly the cri0110 waltz Lapulpera de Santa Lucia, to a poem by Héctor P. Blomberg. La mazorquera de Monserrat (p. i 9 ) is one of the many works resulting from the collaboration between these two artists. The text of La mazorquera draws upon the rosista imagination, that is, the collection of ideas regarding the government of Juan Manuel de Rosas that were generalized towards the late nineteenth century. Mazorquera indicates a person who belongs to

the mazorca, Rosas's secret police. Monserrat is an area of the city of Buenos Aires that was inhabited mostly by Afro-Argentines during the rosista period. The poem tells the story of this fateful woman, al1 red lips and black eyes, who enchants and bewitches the soldiers of the mazorca but gives herself to no one. A sergeant, mad with jealousy, stabs her in the heart. She dies kissing a picture of Rosas and stating that he was her one and only love. Cumpli6 quince aiios la primavera del aiio rojo de la ciudad, y la llamaban "La Mazorquera" en todo el barrio de Monserrat. Eran sus ojos negros, traidores,

y lastimaban como un puiial; y los sargentos restauradores le dedicaban ese cantar: "Cuida la vida del que te quiera porqile cien dagas 10 buscaran por tus amores de mazorquera, en la parroquia de Monserrat". Bajo el rebozo, rojos, sangrientos, los labios de ella reian mis; y las guitarras de los sargentos asi volvian a suspirar: "Por tus amores degollaria hasta el porteiio mis federal: Juan Manuel mismo te adoraria, oh, mazorquera de Monserrat !

Y fue un sargento loco de celos que hiri6 una tarde con su puiial, la daga roja de sus cien duelos, la mazorquera de Monserrat. Llena de sangre, mientras moria, cay6 una estampa de entre su chal; y e n el suspiro de su agonia el mazorquero crey6 escuchar estas palabras roncas, llorosas: "S6lo a ti amaba ..." Y al expirar bes6 en la estampa la faz de Rosas la mazorquera de Monserrat.

Ulises Cassinelli, a disciple ofAntonio Sinopoli, was another of the many guitarist-composers who flourished in Buenos Aires during the early decades of the twentieth century. His Vaniaciones de gato, a theme and variations of a folk dance and song, was very popular among guitar aficionados, particularly after it was recorded by Maria Luisa Anido. He published a small number of pieces for the guitar, most of them transcriptions of tangos. His opus 2 is a transcription ofAgustin Bardi's celebrated tango El baquiano (p. 2 0 ) .

Bardi acquired the rudiments of music from a relative. Although he played in several tango ensembles, music was not his main source of income. He began playing the violin in a trio in a café in La Boca; later he mastered the piano and played it in various groups. He composed his first tango, Vicentito, dedicated to Vicente Greco, in i g 1 2 , and had to have it written down by an amanuensis, since he did not know how to write music. Bardi's tangos belong to the so-called "criollista" style, closer to the spirit of the archaic tangos of the late nineteenth century. El baquiano (a backwoodsman who is knowledgeable in paths, tracks and trails) is reminiscent of the urban milonga, particularly in its rhythmic configuration. Juan Pastor was born in Mallorca, Spain, in i 88 1; he later settled in Buenos Aires, where he died in 1933. His father, a guitar aficionado, taught him to play the instrument. He mastered the mandolin and violin but eventually returned to the guitar. He appeared regularly on radio and set up a respectably guitar teaching practice. He was also an inventor and created two devices to enhance the sound of the guitar, ofwhich he held the patent. His catalogue includes a handful of pieces of his own and some transcriptions, among them El mejicano (The Mexican, p. 2 1 ) . The original here transcribed by Pastor has not yet been identified. It is not the tango titled El mejicano by Vicente Greco. Luisa Martegani de Roca ( i go 1-?) studied guitar with Hilarion Leloup and Antonio Sinopoli. A guitar teacher, she published a small group of technically accessible pieces, evidently aimed at the student market. Her transcription of de la Cruz's El ciruja (p. 2 2 ) was published as her opus 4. Ernesto N. de la Cruz was born in the city of Concordia, province of Entre Rios. He was a bandoneon player, composer and a professional boxer. He made a good living appearing on radio stations such as Cultura, Portefia, Belgrano and El mundo. El ciruja, to a text by the singer Alfredo Marino, was his greatest success. It was recorded by singers such as Carlos Gardel, Julio Sosa and Edmundo Rivero. Alberto Gomez ( i 905- 1973) was a tango singer and composer. He began his career as a youth and met with immediate success. He recorded for the Victor label, appeared on radio and in many films, such as Tango (1933) and Juan Moreira (1936). Besides Que nadie se entere (Let no one know, p. 23), he wrote the tangos Del tiempo de la Morocha, Tolerancia, Cansancio and Que sea 10 que Dios quiera, among others. The transcription we include here was made by Cosme Caballero, a guitar aficionado who worked for many years as a clerk at the traditional guitar publishing house Antigua CasaNufiez.

Italian-born mandolin player and guitarist Vicente Caprino Maineri ( i 866- i 93 i ) settled in Argentina as a youth and made a living teaching guitar. His tangos, always in two sections, are considered as the earliest and most archaic examples ever published in the Rioplatense area.Junto alFaro1(p. 34), dedicated to his student Héctor Rusca, is listed as his opus 4. He also wrote the tangos Guillermito en Palermo, En Mar del Plata, Don Martin, En la Avenida de Majo and No golpiés el hueso que salta el caracu. Justo Tom& Morales ( i 877- 1953), whose name is entirely forgotten today, was a distinguished guitarist, teacher and composer in his time. He was born in Ranchos, province of Buenos Aires (the town where Francisco Canaro began his career) . Initially self-taught, he later studied guitar with Pedro Rubione, Mario Rodriguez Arenas and Domingo Prat. He had a considerable guitar-teaching practice, and some of his disciples won fame in the local milieu, among them Maria H. Antola de Gomez Crespo, Elsa Molina and Geronimo Bianqui Piiiero. He left a significant amount of original works for the guitar, mostly styled after Argentine folk and popular songs and dances. His tangos De mi épocaand Diosma (pp. 34-36) are reminiscent of the tangos of the Guardia Vieja.

The milongais a Song originated in the Pampean region and it is believed to have developed during the second half of the nineteenth century. Two types of milonga are known to have existed, the urban one, which was also a dance, and whose characteristic rhythm is obviously related to and influenced by the habanera and the tango; and the rural one, which is always Sung, is considered to be older. We can have an idea of the differences between the two by comparing Morales's Argentina (pp. 38-41), styled after the rural milonga, and Evaristo Escobio's La historia de la flor (The Story of the flower, p. 42), a typical urban milonga. Morales originally dedicated Argentina to his former teacher Mario Rodriguez Arenas, but for unknown reasons he later changed the dedication to Juan Bergamino ( i 875- i 959), a singer, guitarist and composer of traditional tangos. The habanera is a couple dance that originated in Cuba as a popular derivation of the qua drill^, and which was widespread during the nineteenth century. In the Rioplatense area it is considered to have influenced both the tango and the milonga. Mter having been performed in salons and theatres as a dance and as a zarzuela Song, the habanerafound its way to the rural areas, where it was still heard during the first decades of the twentieth century. In duple

Tango cri0110 Transcribed for guitar by Antonio Sinopoli Edited by Matanya Ophee

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D.C. al Fine Copyright O 2000 Editions Orphée, Inc., Columbus, OH, 43235 International Copyright Seciired. Made in U.S.A. Al1 Rights Reserved.

La Negrita Tango


/ 1 .

I per finire

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Arranged by S. Resgrasa

Golpeg que te van a abrir I


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Tango Arranged for guitar by S. Resgrasa

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Domingo Santa Cruz 1~1iss.1

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Sentimiento Criollo Tango sentimental

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14

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Julio S. Sagreras

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Julio S. Sagreras

A mi querido amigo Celestino Fernhndez Blanco

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Julio S. Sagreras

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A mi inteligente alunno Claudio Romulo Miguens


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Tango Milonga

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Julio S. Sagreras

PM%-48

Ztyravedby Matanya Ophee

Fine

Textual Notes Editorial practice:

El Criollo

Most of the original editions on which this volume is based, use a fingering notation bordering at times on pseudotablature. Our main task in editing this music, then, was converting this notation to our own house style, thus removing a great deal of redundant fingering. Al1 editorial changes in regard to pitches and durations, are listed in these Textual Notes. When it was necessary to apply editorial fingering in preference, or in addition to the original, such fingering is given in Italics. Obvious misprints were corrected silently. Some editorial changes are enclosed in square brackets.

General remark: no fingering in the original. m. 4, nn. 1-2: Editorial harmonics. m. 7, n. 8: MRA. m. 12, nn. 1-2: Editorial harmonics. m. 16: double bar line and the word Fine are editorial.

Abbreviations:

Como le va del ojo?

m. = measure number. n. = number of the note or chord from the beginning of the measure. MRA = Mid-voice Rest Added (usually when the previous note cannot be sustained as indicated in the original. BRA = Bass rest added. Idem. TRA = Treble rest added. Idem. EPN = Editorial Precautionary Natural. EPS = Editorial Precautionary Sharp. ES = Editorial slur.

El Choc10 m. 4, n. 6: bass note c# notated as quarter instead of 2 tied eighths. m. 16, nn. 1-2: Glissando is editorial. m. 16, nn. 2-3: Harmonics are notated here, and elsewhere in this volume, at actual pitch. The word Fine and the double bar are editorial. m. 19, n. 3: EPN. n. 7: original has a bb. m. 34, n. 4: original has a'; modified as in m. 26.

El Apache Argentin0

Jj

m. 2, n. 1: original duration of bass e = n. 4: M M . m. 10, n. 1: original duration of bass e = .; n. 4: MRA. m. 24, n. 1: EPN. m. 32, n. 3: Original chord spelled d'-#'-du. Alteration suggested by original fingering. m. 37, n. 1: original bass note is D' (also in the original piano). m. 47, n. 6: Bass note D added. m. 49: D. C. al Fine indication added.

El Pibe m. 12, n. 3: EPN. m. 14, n. 2: original has g#. m. 16 finai ending, n. 2: EPS. General remark: the original is entirely devoid of fingering, hence, al1 fingering in this piece are editorial. m. 4, n. 5: Editorial tied a. The original has the grace notes slurred into a quarter rest. m. 10, n. 1-2-3:original melody is d-e-d. m. 17, n. 1: original duration is

n. 4: BRA.

Generai remark: no fingering in the original. mm. 16: first ending editorially added. mm. 36-19: repeat of first part editorially written out in full. m. 50: final ending editorially added. General remark: no fingering in the original. m. 16: double bar line and the word Fine are editorial.

La Negrita Generai remark: sparse fingering in the original, mainly string numbers. Al1 finger numbers are editorial. m. 2, nn. 1-2: glissando in the original. m. 16: final ending editorially added. m. 10, nn. 1-2: glissando in the original.

Golpea que te van a abrir Generai remark: no fingering in the original. m. 18: final ending editorially added.

Union Civica m. 1, nn. 3-4: ES. m. 5, nn. 3-1: ES. m. 16: the word Fine is editorial. m. 21, n. 2: original has dh.

Sentimiento Criollo General remark: al1 expression markings in this tango are taken from the original piano version. Not included in the guitar transcription. Provided by Melanie Plesch. m. 8, n. 4: EPN. m. 9, n. 3: EPN. m. 31, n 3: EPS.

El Chamuyo m. 23, n. 4: original bass is D. Alteration suggested by original fingering. m. 25, n. 2: original has gb. Alteration suggested by original fingering. m. 33, n. 2: EPN. mm. 51-66: to facilitate the correct sequence of the various sections, the entire first part is written out in full.

El Pensamiento

Langostas

Tocalo miis fuerte!..

No se permite

J;

m. 6, n. 2: original note is a. m. 14, n. 2: idem. m. 17: entire measure is fingered in the original with a barré on fret VII. m. 25: idem. m. 17, n. 5: EPN. m. 54, n. 2: original note is a. m. 62, n. 2: idem. mm. 49-64: to facilitate the correct sequence of the various sections, the first part is written out in full.

Hasta luego Ché! m. m. m. m. m. m.

..

3, nn.46: voice separation and RH fingering is editorial. 5, nn. 56: original slur between M. 46. 7, nn. 5-6: original slur between M .46. 11, nn.46: voice separation and RH fingering is editonal. 12, nn. 5-6: original slur between M.46. 24, n.4: b# is editorial.

La Mazorquera de Monserrat

J;

m. 8, n. 1: original duration is n. 3: TRA. m. 17: the word Fine is editorial. m. 26, n. 2: EPN.

El Baquiano m. 4: repeat bar and first and second endings are editorial. The original is written out in full. m 8, n. 3: EPN. m. 13: D.C. indication is editorial. m. 30, n. 1: original has bb. m. 31, n. 8: original has dh. m. 38, n. 1: original has bh. m. 39, n. 8: original has dh.

El Mejicano m. m. m. m.

7, n.1: EPN. 16, n.1: original has d in the soprano voice. in the bass.sm 33, n, 4: original has 50, n, 4: original has in the bass.

El ciruja m. 5, n. 6: EPN. m. 32, n. 3: EPN.

Que nadie se entere m. -1: dotted eighth rest added to pick-up bar. m. 2, n. 5: original bass is ch. mm. 22, n. 1: original chord spelled D-ad#. Adjusted as in m. 32. m. 30, n. 2: original chord spelled e-a#-e'. Adjusted as in m. 21. m. 36, n. 3: original chord spelled E-g-b-el-g'.

Agarrame que me caigo m. 15, n. 3: original bass D is marked double-sharp. m. 15, n. 4: Aiteration to a# is editorial. m. 15, n. 5: EPN. m. 29, n. 5: original bass is d. Aiteration suggested by original fingering. m. 63, n. 3: original bass D is marked double-sharp. m. 63, n. 4: Alteration to a# is editorial. m. 63, n. 5: EPN.

Don Carlos General remark: no fingering in the original.

"El Chana" m. 10, n. 6: EPN.

1i1Cancha! !! m. 18, n. 7: EPN. m. 34, n. 7: EPN. m. 42, n. 7: EPN. m. 66: the word Fine is editorial. mm. 50-66: to facilitate the correct sequence of the various sections, the first partis written out in full.

i i iChupate esa! !! Guitar 1. m. 16, n. 2: original harmonic e on XII. mm. 17-18: use of barré with left-hand thumb is editorial. mm. 25-26: ditto. mm. 41: nn. 34: EPS. Junto al Faro1 m. 9, n. 1: EPS.

De mi época m. I l , n. 2: EPS. m. 28, n. 6-7: EPN. m. 47, n.4: EPN. m. 47, n.7: EPN. m. 49, n. 3: original bass is b.

Diosma m. 26 n. 7: EPN. m. 42, M.1 4 : original fingering in 4th position.

Argentina Generai remark: the availability of two versions of the same work precludes any need for editorial intervention. As 1 do not know which version is the earlier one, it is not possible to speculate on the composer's need to express what is basically the same piece, in widely divergent expositions. Hence, 1 elected to make only those notational changes needed to fit the general style of this edition. Please note that the two-guitar version includes an additional section between mm. 28-36 and 4548.

La Historia de la flor mm. I l , M. 1-3: LH fingering are original. RH fingering are editorial.

Rosita General remark: no fingering in the original.

Cadenciosa m. 16: the a tempo indication at the end of an extension line originating in a poco cresc. dynamic, may indicating a missing tempo modification. Hence, the editorial e accel. in m. 13. m. 17, n. 1: EPN. The Spanish text says: bring out the intermediate singing line. m. 56: original is fingered in the 1st position.

La original Generai remark: no fingering in the original. m. 9, n. 4: original has db. m. 9, n. 5: EPN. m 17, n. 2: original has d#. m. 22, n. 5: original has g#. m. 24, n. 2: original has g#. m. 36, n. 4: original has d4. m. 36, n. 5: EPN.

Cha-ca-cha

J;

m. 24, n.4: original duration is m. 24, n. 5: TRA. m. 28, n. 1: original duration is Voice separation set as in m. 20. m. 29, n. 4: original duration of bass note d is m. 29, n. 5: BRA.

b.

.b.

Tangos Milongas Habaneras For guitar.pdf

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