jorge a. bosso

musician, composer, cellist

works_orchestra_

À la Recherche du Tango Perdu

for violin, cello, bandoneón, strings and percussions (2009)

First performance: December 26th 2009, Philharmonic Hall, Krasnoyarsk, Russia

Dora Schwarzberg, violin
Jorge A. Bosso, cello
Alexander Shendrik, bandoneón

String Chamber Orchestra of Krasnoyarsk

Mikhail Benyumov, conductor

Duration: 40’

Estatico, niebla, río/Tempo di Tango. Fuga/Ripresa
Recitativo/Quasi Andante/Tango’s Gedanke
Alba de Buenos Aires/Cadenza
Gettin’ through the Mood of Tango
Finale. Allegro comodo, ma scuro

Where to start explaining Tango? Which way? Through its history, its legends?   The way is long and winding as with everything related to humans it often appears as a complicated piece of geometry, like a prism reflecting roads and lanes which in turn take us to other ways and so on, ad infinitum. As in the emergence of ideas in our daydreams.
So then, which way? Let us start from the bottom, the lowest place, a remote place where it is not possible to imagine the metaphysical reality.

Yes.

Let us start from the very foundation of its existence.

The South.

Very often, I see the lyrics of a tango as a centenarian photograph, secular.

The South is a symbol. The representation  of  an idea, which it is. It is always subjective. The South is a metaphor, the most fascinating part of the language. And music a language that transports us to places and spaces which are difficult to describe unless with more or less familiar phrases which express that which by its nature is in itself ineffable.

We could dare to say that the tango brings us a picture of a Buenos Aires that does not exist anymore. It freezes an image and carries us to a past that conceives a catalogue of a mortality. Few verses are necessary to bring forward a posthumous irony and our perception it is, of course, conditioned by the fact that we are conscious that its image does not exist anymore.

The South as an object of love in which the sense of completeness never evens up the feeling of dissatisfaction.

Music does not pretend to imitate any natural phenomenon, but express the psychical life of the artist. Music does not need to hold argumentations, and it is not obliged to borrow external forms to complete its idiom.

A la recherché du Tango Perdu and the inventions that from it could be born, represent my hope that listeners could find within its dialogues something that could deserve their memories.

Jorge A. Bosso