Tango Etudes No. 3 & 4 Astor Piazzolla (transcribed for solo cello by W. Law)
About a year ago, I was asked by the American Creative Dance
Company to come up with a few Tango pieces to collaborate with their Tango
dancers. I came across these etudes and fell in love with them. They were originally written for the flute,
but I decided to transcribe them for the cello. Having always loved Tango dancing myself, and having enjoyed
playing Tango music, this collaboration was a real treat.
Astor Piazzolla
(1921 - 1992) was an Argentine tango musician, bandoneon player, and composer. He
is widely considered the most important tango musician of the second half of
the Twentieth Century. His nuevo tango was distinct from traditional tango
in its incorporation of elements of jazz. As guidance to the performer,
Piazzolla wrote of these etudes, "the performer should well exaggerate the
accents and respirations, therefore inspiring of the way in which tangos are
played on the bandoneon". One
wonders how to find "respiration" in the sounds of a cello. The dancers later told me that they had been
listening and dancing to the music breathe through the cello like a bandoneon. Wendy Law
Classical Music | Cello Music
Astor Piazzolla
Tango Etudes No. 3 & 4 Play
Recorded on 06/22/2005, uploaded on 02/18/2009
Musician's or Publisher's Notes
Tango Etudes No. 3 & 4 Astor Piazzolla (transcribed for solo cello by W. Law)
About a year ago, I was asked by the American Creative Dance Company to come up with a few Tango pieces to collaborate with their Tango dancers. I came across these etudes and fell in love with them. They were originally written for the flute, but I decided to transcribe them for the cello. Having always loved Tango dancing myself, and having enjoyed playing Tango music, this collaboration was a real treat.
Astor Piazzolla (1921 - 1992) was an Argentine tango musician, bandoneon player, and composer. He is widely considered the most important tango musician of the second half of the Twentieth Century. His nuevo tango was distinct from traditional tango in its incorporation of elements of jazz. As guidance to the performer, Piazzolla wrote of these etudes, "the performer should well exaggerate the accents and respirations, therefore inspiring of the way in which tangos are played on the bandoneon". One wonders how to find "respiration" in the sounds of a cello. The dancers later told me that they had been listening and dancing to the music breathe through the cello like a bandoneon. Wendy Law
More music by Astor Piazzolla
Tango Bordel 1900 (arr. Ashu)
Tango No. 2
Contrabajeando
Invierno Porteño
Libertango
Primavera Porteña
Le Gran tango for cello and piano
Cuatro estaciónes porteñas Part I Primavera
Le Grand Tango for Cello and Piano
Otoño Porteño (Autumn), The Four Seasons of Buenos Aires
Performances by same musician(s)
12 Variations on a theme from Mozart's "The Magic Flute"
Songs Without Words in D Major, Op. 109
Requiebros in D Major
Adagio and Allegro, Op. 70
Pohadka (Fairy Tale)
Polonaise Brillante in C major Op.3 for Cello and Piano
Alborada del Grazioso (arr. for cello)
Suite Populaire Espagnole
Le Grand Tango for Cello and Piano
Fantasy Pieces Op. 73
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