Crossovers and borrowings between tango and cuarteto in Patio de tango (1975)
In 1975 Cuarteto de Oro recorded the album Patio de tango through the Philips Records label, becoming an exception due to the repertoire chosen in relation to previous works. With two references cordobese tango, such as Edmundo Suárez on piano and Abel Lizárraga on violin, and accompanied by Gerardo...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Universidad Nacional del Litoral
2025
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| Acceso en línea: | https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/index/article/view/14487 |
| Aporte de: |
| Sumario: | In 1975 Cuarteto de Oro recorded the album Patio de tango through the Philips Records label, becoming an exception due to the repertoire chosen in relation to previous works. With two references cordobese tango, such as Edmundo Suárez on piano and Abel Lizárraga on violin, and accompanied by Gerardo Daher on accordion, Raúl Rosell on bass and the voices of Néstor Raúl López, alias Coquito Ramaló, and Carlos Jiménez, they address classics of Rio de la Plata tango and include the waltz «Mi ambición» by Cristino Tapia from Cordoba.
The objective of this work is to analyze, from the musicology perspective, the proposed arrangements, problematizing the compositional resources, arrangement and performative that dialogue in a scenario of borrowings and crossovers between both genres. The musical characteristics of the traditional style, as named by Waisman (1995), the original style by Florine (1996), the traditional paradigm of the cuarteto and cuarteto – cuarteto exposed by Montes (2022, 2024) will be considered.
The approach seeks to highlight the processes of relocation (Disandro, 2024) in the arrangements of tangos, milongas and waltzes proposed by the Cuarteto de Oro on this album. |
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