The rhythm of tango is everywhere, pulsing throughout the piece so infectious, that you might be able to see the orchestra and myself dance alongside it! The piece starts with an energetic theme, full of a contained, disciplined heat. It is a colourful, sensual, evocative portrait of a summer day in Buenos Aires. Verano Porteño is one of the most exhilarating pieces I ever listened to, and it is with great joy that I am playing it for you tonight. Ahead of the performance on Friday 14 May, we asked each violinist to tell us a little bit about their season and what it means to them as a performer. But remember, when it’s summer in Buenos Aires it is winter in Vivaldi’s home town of Venice, so these quotes might not be exactly where you expect…Īs we’re shining a spotlight on individual members of the orchestra, each season will be performed by a different violin soloist. This arrangement splits each season into three movements, in the style of Vivaldi’s Four Seasons, and also includes musical quotes from Vivaldi’s original. On hearing it, she said: ‘You idiot! Don’t you know, this is the real Piazzolla, not the other one? You can throw all that other music away’ which spurred Piazzolla to continue on his path.īetween 19, Russian composer Leonid Desyatnikov arranged the Four Seasons of Buenos Aires for solo violin and string orchestra. Luckily, his composition teacher Nadia Boulanger (whose influence has appeared a lot this season!) saw in his tango music something special. This combination of styles was not overwhelmingly popular at the time and Piazzolla was disheartened. He performed with a number of tango orchestras and this music, along with classical and jazz, influenced his compositional style. Piazzolla was a virtuoso of the bandoneon, having first learnt to play aged 8. Piazzolla wrote the Four Seasons of Buenos Aires between 19, originally as four separate pieces for violin, piano, electric guitar, double bass and bandoneon – a Spanish accordion instrument popular in tango music.
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