Escucha gratis a Carlos Gardel вЂ“ Sus 40 Tangos Mas Famosos (Mi Buenos Aires Querido, Por una Cabeza y ucho mГЎs).

He enjoyed emulating the social lives of his more bohemian friends, including going to these tango performances. Even future tango stars were forced to perform dances dressed as gauchos for no other reason but the strength of that scene and the image it created. (3) Nor did he react to the activity that was taking place around him, which according.A popular dance originating in the mid-19th century which descended from Candombe, Habanera, Milonga, and, according to some tango scholars, the Tango Andaluz. Over the course of several days, he made neither a comment nor a gesture that revealed how he felt about the music he was hearing. In his role of idle observer, Borges gave little indication of whether or not he was having a good time: he sat patiently in the control room, hands resting on the handle of the cane he held between his legs. Now, the guitarist admits, while those involved in the process find these sessions exciting, it can be tedious for 'el ocioso observador, por lo general, no lo pas demasiado bien' (198). (2) Borges, we learn from Lopez Ruiz, attended all the recording sessions. Given this wide array of performing forces, El tango demanded many hours in the recording studio. The lynchpin for the project, however, was Edmundo Rivero, the most prominent tango singer of the time. For the recitation parts, the producers recruited a popular and esteemed actor, Raul Medina Castro. In addition to Piazzolla's own group, the Quinteto Nuevo Tango, the album features a twelve-piece chamber ensemble drawn from the elite of Argentine classical musicians, a chorus, and a large orchestra. Much of these negotiations surely concerned the number and quality of performers that eventually participated in the project. To take these compositions from his living room to the recording studio, Piazzolla spent much of 1965 immersed in 'interminable negotiations' at the administrative offices of PolyGram, the label that had held the contract for El tango (Lopez Ruiz 196). Astor played his compositions at the piano his wife Odette Maria Wolff, better known as Dede, sang the lyrics. During the compositional process, he writes, Piazzolla frequently invited Borges over to his apartment so that the poet could hear the music he was composing for the album. Lopez Ruiz's narration begins several months before the exchange took place. Lopez Ruiz recounts this exchange, and the events leading up to it, in a section with a title that is misleadingly salacious: 'Borges y la chica.' The anecdote where Borges betrays his defective musical ear concerns an exchange that took place during one of the recording sessions for this album. The compositions that resulted from this agreement form the basis of the 1965 LP album entitled El tango. The careers of Borges and Piazzolla intersected in the mid 1960s, when the former agreed to contribute a handful of milonga and tango lyrics that the latter would set to music. In these informative and entertaining memoirs, Lopez Ruiz chronicles his twenty-five years playing, recording, and touring with the man who revolutionized the tango, Astor Piazzolla (Piazzolla 196-99). This anecdote appears in a book written by the Argentine jazz guitarist, Oscar Lopez Ruiz.

There is an anecdote that is frequently put forth as evidence that Borges knew absolutely nothing about music that for all his refined craft and vaunted erudition, when it concerned the tango, Argentina's most acclaimed modern writer was deaf.

Tango instrumental famoso