Classic Tango typically looks simpler than Modern Tango, although in our experience can take a long time to master because it requires a high degree of technical proficiency in order to develop the tacit knowledge that allows the partners to concentrate on, interpret and respond to the complex musical form, your partner and the other couples on the floor without consciously thinking about what you are doing. Tacit knowledge is best expressed in learning a language, where the underlying knowledge of the structure and vocabulary are an essential pre-requisite to a meaningful conversation. Classic tango requires similar application to learning a language or a sport in order to be able to converse and respond without consciously thinking about the vocabulary. Classic Tango is an introspective, minimal and intimate dance that is more conversational between dance partners within a complex musical framework. The dance is much more circular, a response to crowded, swirling dance floors.
Even though present forms of tango developed in Argentina and Uruguay from the mid-19th century, there are records of 19th and early 20th-century tango styles in Cuba and Spain,[3] while there is a flamenco tango dance that may share a common ancestor in a minuet-style European dance.[4] All sources stress the influence of African communities and their rhythms, while the instruments and techniques brought in by European immigrants in the 20th century played a major role in the style's final definition, relating it to the salon music styles to which tango would contribute back at a later stage.
Klasik Tango Mzii
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Angel Villoldo's 1903 tango "El Choclo" was first recorded no later than 1906 in Philadelphia.[5] Villoldo himself recorded it in Paris (possibly in April 1908, with the Orchestre Tzigane du Restaurant du Rat Mort),[6] as there were no recording studios in Argentina at the time.
Early tango was played by European immigrants in Buenos Aires and Montevideo.[7][8][9] The first generation of tango players from Buenos Aires was called "Guardia Vieja" (the Old Guard). It took time to move into wider circles; in the early 20th century, it was the favorite music of thugs and gangsters who visited brothels,[10] in a city with 100,000 more men than women (in 1914). The complex dances that arose from such rich music reflect how the men would practice the dance in groups, demonstrating male sexuality and causing a blending of emotion and aggressiveness. The music was played on portable instruments: flute, guitar, and violin trios, with bandonen arriving at the end of the 19th century. The organito, a portable player-organ, broadened the popularity of certain songs. Eduardo Arolas was the major driver of the bandonen's popularization, with Vicente Greco soon standardizing the tango sextet as consisting of piano, double bass, two violins, and two bandonens.
Like many forms of popular music, tango was associated with the underclass, and attempts were made to restrict its influence[by whom?]. In spite of the scorn, some, like writer Ricardo Giraldes, were fans. Giraldes played a part in the international popularization of tango, which had conquered the world by the end of World War I; he wrote the poem "Tango", which describes the music as the "all-absorbing love of a tyrant, jealously guarding his dominion, over women who have surrendered submissively, like obedient beasts".[4]
One song that would become the most widely known of all tango melodies[11] also dates from this time. The first two sections of "La Cumparsita" were composed as an instrumental march in 1916 by teenaged Gerardo Matos Rodrguez of Uruguay.[12][13]
Besides the global influences mentioned above, early tango was locally influenced by Payada, the Milonga from Argentine and Uruguay pampas, and Uruguayan candombe. In Argentina there was Milonga "from the country" since the mid eighteenth century. The first "payador" remembered is Santos Vega. The origins of Milonga seem to be in the pampa with strong African influences, especially though the local candombe (which would be related to its contemporary candombe in Buenos Aires and Montevideo). It is believed that this candombe existed and was practised in Argentina since the first slaves were brought into the country.[14]
Although the word "tango" to describe a music/dance style had been printed as early as 1823 in Havana, Cuba, the first Argentine written reference is from an 1866 newspaper that quotes the song "La Coqueta" (an Argentine tango).[15] In 1876, a tango-candombe called "El Merenguengu"[16][17] became very popular, after its success in the Afro-Argentines' carnival held in February of that year. It is played with harp, violin, and flute, in addition to the Afro-Argentine candombe drums ("Llamador" and "Repicador"). This has been seriously considered one of the strong points of departure for the birth and development of tango.[18]
The first tango "group" was composed of two Afro-Argentines: "the black" Casimiro Alcorta (violin) and "the mulatto" Sinforoso (clarinet).[19] They played small concerts in Buenos Aires from the early 1870s until the early 1890s. Alcorta is the author of "Entrada Prohibida" (Prohibited Entry),[20] sung by the brothers Teisseire. He is also credited with the tango "Concha sucia", which was later adapted and sung by F. Canaro as "Cara sucia" (Dirty Face).[21]
The first recorded musical score is "La Canguela" (1889). The first copyrighted tango score is "El entrerriano", released in 1896 and printed in 1898 by Rosendo Mendizabal, an Afro-Argentine. As for the transition between the old "Tango criollo" (Milonga from the pampas, evolved with touches of Afro-Argentine candombe, and some Habanera), and the tango of the Old Guard, there are the following songs:
Tango soon gained popularity in Europe, beginning in France. Superstar Carlos Gardel soon became a sex symbol who brought tango to new audiences, especially in the United States, due to his sensual depictions of the dance in film. In the 1920s, tango moved out of the lower-class brothels and became a more respectable form of music and dance. Bandleaders like Roberto Firpo and Francisco Canaro dropped the flute and added a double bass in its place. Lyrics were still typically macho, blaming women for countless heartaches, and the dance moves were still sexual and aggressive.[citation needed]
Carlos Gardel became especially associated with the transition from a lower-class "gangster" music to a respectable middle-class dance. He helped develop tango-cancin in the 1920s and became one of the most popular tango artists of all time. He was also one of the precursors of the "Golden Age of Tango".
The "Golden Age" of tango music and dance is generally agreed to have been the period from about 1935 to 1952,[citation needed] roughly contemporaneous with the big band era in the United States. Tango was performed by orquestas tpicas, bands often including over a dozen performers.
Some of the many popular and influential orchestras included those of Mariano Mores, Juan d'Arienzo, Francisco Canaro, and Anbal Troilo. D'Arienzo was called the "Rey del comps" or "King of the beat", for the insistent, driving rhythm which can be heard on many of his recordings. "El flete" is an excellent example of D'Arienzo's approach. Canaro's early milongas are generally the slowest and easiest to dance to; and for that reason, they are the most frequently played at tango dances (milongas); "Milonga Sentimental" is a classic example.
The later age of tango has been dominated by stor Piazzolla, whose "Adis nonino" became the most influential work of tango music since Carlos Gardel's "El da que me quieras" was released in 1935. During the 1950s, Piazzolla consciously tried to create a more academic form with new sounds breaking the classic forms of tango, drawing the derision of purists and old-time performers. The 1970s saw Buenos Aires developing a fusion of jazz and tango. Litto Nebbia and Siglo XX were especially popular within this movement. In the 1970s and 1980s, the vocal octet Buenos Aires 8 recorded classic tangos in elaborate arrangements, with complex harmonies and jazz influence, and also recorded an album with compositions by Piazzolla.
Over the first two decades of the 21st century, the movement has grown with the creation of countless bands playing new tangos. The most prominent figures leading this phenomenon have been the Orquesta Tpica Fernandez Fierro, whose creator, Julian Peralta,[34][35][36][37] would later start Astillero and the Orquesta Tpica Julin Peralta. Other bands have also become part of the movement, such as Orquesta Rascacielos, Altertango, Ciudad Baign, as well as singer-songwriters Alfredo "Tape" Rubn,[34][38] Victoria di Raimondo,[39] Juan Sern,[34][40] Natal de Vicenzo,[36] and Pacha Gonzlez.[36][37][40]
Tango development did not stop with tango nuevo. 21st-century tango is referred to as neotango. These recent trends can be described as "electro tango" or "tango fusion", where the electronic influences range from subtle to dominant.
Tanghetto and Carlos Libedinsky are good examples of the subtle use of electronic elements. The music still has its tango feeling, the complex rhythmic and melodious entanglement that makes tango so unique. Gotan Project is a group that formed in 1999 in Paris, consisting of musicians Philippe Cohen Solal, Eduardo Makaroff, and Christoph H. Muller. Their releases include Vuelvo al Sur/El capitalismo forneo (2000), La Revancha del Tango (2001), Inspiracin Espiracin (2004), and Luntico (2006). Their sound features electronic elements like samples, beats, and sounds on top of a tango groove. Some dancers enjoy dancing to this music, although many traditional dancers regard it as a definite break in style and tradition.
Bajofondo Tango Club is another example of electro-tango. Further examples can be found on the CDs Tango?, Hybrid Tango, Tangophobia Vol. 1, Tango Crash (with a major jazz influence), Latin Tango by Rodrigo Favela (featuring classic and modern elements), NuTango, Tango Fusion Club Vol. 1 by the creator of the milonga called "Tango Fusion Club" in Munich, Felino by the Norwegian group Electrocutango, and Electronic Tango, a compilation CD. In 2004, the music label World Music Network released a collection under the title The Rough Guide to Tango Nuevo. e24fc04721