Astor Piazzolla - The Gold Collection - 2Cd (2000) [LOSSLESS FLAC][Tntvillage.Scambioetico]

Astor Piazzolla - The Gold Collection - 2Cd (2000) [LOSSLESS FLAC][Tntvillage.Scambioetico] Astor Piazzolla - The Golden Age of Tango - 2 Cd by RDaneel [::Album Information::] Title: Astor Piazzolla - The Gold Collection Years: 2000 Genre: Nuovo Tango Production: Proper - Retro [::Tracklist::] CD 1 1. De Mi Bandoneon (Pérez Prechi) - 2:44 2. Se Armo' (A.Piazzolla) - 2:45 3. Quejas de bandoneon (J.De Dios Filiberto) - 2:52 4. Chiclana (De Caro, Gomila) - 2:51 5. El Pillete (De Leone) - 2:26 6. Taconeando (Maffia, Staffolani) - 3:07 7. Ojos Tristes (Inarte, Navarrine) - 2:23 8. Cargamento (Gallucci, Hormaya) - 2:43 9. Republica Argentina (Lipesker, Ghiso) - 3:11 10. Villeguita (A.Piazzolla) - 3:23 11. Cafetin de Buenos Aires (Discépolo, Mores) - 3:07 12. Marron Y azul (A.Piazzolla) - 3:33 13. Los Mareados (Cabiaàn) - 3:42 14. Tangology (H.Malvicino) - 3:26 15. Neotango (L.Federico, M.Flores) - 3:19 16. El Marne (E.Arolas) - 4:29 17. Anone (H.Baralis) - 4:30 18. El Entrerriano (R.Mendizabal) - 3:05 19. Arrabal (J.Pascual) - 3:28 20. A Fuego Lento (H.Salgàn) - 3:30 CD 2 1. Orchestre Argentin Bianco - Bachicha - La Cumparsita (H.Matos Rodriguez) - 2:38 2. Orchestre Argentin Bianco - Bachicha - Crepusculo (Bianco) - 3:07 3. Orchestra Tano Genaro - Viva El Principe (M.Gutierrez Ponce) - 2:46 4. Orquesta Tipica Argentina Salvador Pizarro - Retintin (E.Arolas) - 2:50 5. Carlos Gardel - El Carretero (A.De Navas) - 3:05 6. Carlos Gardel - La Muchacha del circo (G.Matos Rodriguez, M.Romero) - 2:24 7. Orquesta Tipica brodman - Alfaro - Bandoneon Arrabalero (Deambroggio) - 2:50 8. Salvador Pizarro Y su Orquesta Tipica Argentina - Misa de once (Guichandut, Tagini) - 2:45 9. Orchestre Argentin Bachicha - Se va la vida (Donato, Zerillo, Mario) - 3:01 10. Eduardo Bianco et son fameux orchestre argentin Don Goyo (L.Bernstein) - 2:52 11. Rosita Barrios & Luis Mandarino - Mi Viejo amor (Bustamente, Esparta Oteo) - 2:39 12. Orlando et son orchestre du Bagdad - Vous qu'avez vous fait de mon amor (Darezi, Tibor, H.Varna, M.Cab) - 3:04 13. Orlando et son orchestre du Bagdad - La viruta (V.Greco) - 2:52 14. Rafael Canaro et son Orchestre de tango - Yo no se porque te quiero (F.Canaro, Y.Pelay) - 3:11 15. Orchestre Argentin Manuel Pizarro - Batacazo (M.Pizarro) - 3:04 16. Bernardo Alemany - Elegant Papirusa (T.Roccatagliata) - 2:44 17. Bernardo Alemany - Malinconia (D.Caslar) - 3:00 18. Orchestre Argentin Bachicha - Viejo poncho (Bachicha, Ralton) - 2:41 19. Astor Piazzolla - Tierra Querida (Decaro) - 3:15 20. Astor Piazzolla - Todd Corazon (Decaro) - 2:42 [::Review::] Astor Pantaleón Piazzolla (March 11, 1921 – July 4, 1992) was an Argentine tango composer and bandoneón player. His oeuvre revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. An excellent bandoneonist, he regularly performed his own compositions with different ensembles. Piazzolla was born in Mar del Plata, Argentina in 1921 to Italian parents, Vicente Nonino Piazzolla and Asunta Manetti. His grandfather, a sailor and fisherman named Pantaleone Piazzolla, had immigrated to Mar del Plata from Trani, a seaport town in the southeastern Italian region of Apulia, at the end of the 19th century. Ástor Piazzolla spent most of his childhood with his family in New York City, where he was exposed to both jazz and the music of J.S. Bach at an early age. While there, he acquired fluency in four languages: Spanish, English, French, and Italian. He began to play the bandoneon after his father, nostalgic for his homeland, spotted one in a New York pawn shop. At the age of 13, he met Carlos Gardel, another great figure of tango, who invited the young prodigy to join him on his current tour. Much to his dismay, Piazzolla's father deemed that he was too young to go along. Nevertheless he played a young paper boy in Gardel’s movie El día que me quieras. This early disappointment proved a blessing in disguise, as it was on this tour that Gardel and his entire band perished in a plane crash. In later years, Piazzolla made light of this near miss, joking that had his father not been so careful, he wouldn't be playing the bandoneon—he'd be playing the harp. He returned to Argentina in 1937, where strictly traditional tango still reigned, and played in night clubs with a series of groups including the orchestra of Anibal Troilo, then considered the top bandoneon player and bandleader in Buenos Aires. The pianist Arthur Rubinstein—then living in Buenos Aires—advised him to study with the Argentine composer Alberto Ginastera. Delving into scores of Stravinsky, Bartók, Ravel, and others, he rose early each morning to hear the Teatro Colón orchestra rehearse while continuing a gruelling performing schedule in the tango clubs at night. In 1950 he composed the soundtrack to the film Bólidos de acero. At Ginastera's urging, in 1953 Piazzolla entered his Buenos Aires Symphony in a composition contest, and won a grant from the French government to study in Paris with the legendary French composition teacher Nadia Boulanger. In 1954 he and his first wife, the artist Dedé Wolff, left Buenos Aires and their two children (Diana aged 11 and Daniel aged 10) behind and travelled to Paris to study with Boulanger Piazzolla returned from New York to Argentina in 1955, formed the Octeto Buenos Aires to play tangos, and never looked back. Upon introducing his new approach to the tango (nuevo tango), he became a controversial figure among Argentines both musically and politically. The Argentine saying "in Argentina everything may change — except the tango" suggests some of the resistance he found in his native land. However, his music gained acceptance in Europe and North America, and his reworking of the tango was embraced by some liberal segments of Argentine society, who were pushing for political changes in parallel to his musical revolution. During the period of Argentine military dictatorship from 1976 to 1983, Piazzolla lived in Italy, but returned many times to Argentina, recorded there, and on at least one occasion had lunch with the dictator Jorge Rafael Videla. However, his relationship with the dictator might have been less than friendly. In 1990 he suffered thrombosis in Paris, and died two years later in Buenos Aires. Among his followers, his own protege Marcelo Nisinman is the best known innovator of the tango music of the new millennium, while Pablo Ziegler, pianist with Piazzolla's second quintet, has assumed the role of principal custodian of nuevo tango, extending the jazz influence in the style. The Brazilian guitarist Sergio Assad has also experimented with folk-derived, complex virtuoso compositions that show Piazzolla's structural influence while steering clear of tango sounds; and Osvaldo Golijov has acknowledged Piazzolla as perhaps the greatest influence on his globally oriented, eclectic compositions for classical and klezmer performers. Piazzolla's nuevo tango was distinct from the traditional tango in its incorporation of elements of jazz, its use of extended harmonies and dissonance, its use of counterpoint, and its ventures into extended compositional forms. As Argentine psychoanalyst Carlos Kuri has pointed out, Piazzolla's fusion of tango with this wide range of other recognizable Western musical elements was so successful that it produced a new individual style transcending these influences.[3] It is precisely this success, and individuality, that makes it hard to pin down where particular influences reside in his compositions, but some aspects are clear. The use of the passacaglia technique of a circulating bass line and harmonic sequence, invented and much used in 17th and 18th century baroque music but also central to the idea of jazz "changes", predominates in most of Piazzolla's mature compositions. Another clear reference to the baroque is the often complex and virtuosic counterpoint that sometimes follows strict fugal behavior but more often simply allows each performer in the group to assert his voice. A further technique that emphasises this sense of democracy and freedom among the musicians is improvisation that is borrowed from jazz in concept, but in practice involves a different vocabulary of scales and rhythms that stay within the parameters of the established tango sound-world. Pablo Ziegler has been particularly responsible for developing this aspect of the style both within Piazzolla's groups and since the composer's death.

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 insinuendo (2010-09-26)

Thanks.

Luc0425 (2011-09-11)

Thanks !!! Great sound, great music,...great guy !