Tristango astor piazzolla biography

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Astor Piazzolla (March 11, 1921 – July 4, 1992) was an Argentine tango composer and bandoneón player.
Argentinian tango classical composer and bandoneon player.

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New tango, the music of Astor Piazzolla, is the fulcrum of this program. Osvaldo Golijov wrote Last Round as a sort of tribute to Piazzolla, and Alberto Ginastera was Piazzolla's first composition teacher. Piazzolla's tango revolution was very much a reflection of its time and place - the political, economic, and cultural turmoil and ferment of Argentina in the second half of the 20th century. Yet even at the time it proved readily transferable, appealing to hearts and minds, ears and feet, around the world, and it continues to cast a long and inspiring shadow across poly-cultural musicians and audiences today.

Born in Mar del Plata, Piazzolla immigrated to New York with his family, where he grew up on the Lower East Side. Sports and other activities interested him far more than did the tango, the music of his father. The gift of a bandoneón began to change that, however.

"The first bandoneón that I had my Papa gave me when I was eight years old," Piazzolla recalled in one version of the event, although he also said it was when he was nine. "He brought it wrapped in a box, and

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Astor Piazzolla
Allmusic Biography : Its not hyperbole to say that Astor Piazzolla is the single most important figure in the history of tango, a towering giant whose shadow looms large over everything that preceded and followed him. Piazzollas place in Argentinas greatest cultural export is roughly equivalent to that of Duke Ellington in jazz -- the genius composer who took an earthy, sensual, even disreputable folk music and elevated it into a sophisticated form of high art. But even more than Ellington, Piazzolla was also a virtuosic performer with a near-unparalleled mastery of his chosen instrument, the bandoneon, a large button accordion noted for its unwieldy size and difficult fingering system. In Piazzollas hands, tango was no longer strictly a dance music; his compositions borrowed from jazz and classical forms, creating a whole new harmonic and rhythmic vocabulary made for the concert hall more than the ballroom (which was dubbed "nuevo tango"). Some of his devices could be downright experimental -- he wasnt afraid of dissonance or abrupt shifts in tempo and m