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NEW DIRECTIONS IN MUSIC PRESENTED BY 

Soundstreams is an international centre 

for new directions in music, programming 

culturally provocative concerts and 

festivals by weaving together music 

and ideas from globally diverse genres, 

artists and eras. 

Founded by renowned oboist Lawrence Cherney 

in 1982, Soundstreams has presented hundreds 

of unique and compelling concerts, from intimate 

chamber music events to multi-choral spectaculars, 

operas, music-theatre works and highly successful 

international festivals. A recognized national leader, 

Soundstreams is one of the largest and most 

dynamic organizations of its kind in the world. 

The programming, curated by Artistic Director 

Lawrence Cherney, focuses on music by living 

composers with a special emphasis on Canadians 

and their international counterparts. Soundstreams 

regularly commissions new works (over 160 works 

since 1982) contributing significantly to the 

Canadian musical legacy. 

Soundstreams ignites collaborations and encounters 

among the world’s finest composers, performers and 

their audiences. Many of our concerts are broadcast 

throughout the world through CBC Radio Two, and 

the European Broadcasting Union. Moreover, 

Soundstreams is constantly developing fresh 

Outreach and Education programs to engage 

and partner with students, community groups 

and audiences. 

STAFF 

Lawrence Cherney, 

Artistic Director 

Jennifer Green, 

Executive Director 

Kyle Brenders, 

Artistic Associate 

Christina Niederwanger 

Director of Development 

Erin Bustin, 

Development Associate 

Inés Aguileta 

Interim Marketing & PR Manager 

Jorge Ayala, 

Digital Community Manager 

Amber Ebert, 

Outreach Programs Manager 

Adriana Kraevska, 

Production Manager 

Anna Schiff, 

Administrator 

BOARD OF DIRECTORS 

Lawrence Smith, CA, President 

Elaine Gold, Vice President 

Bernard Schiff, Secretary 

Jim Doherty, FCIA, FSA, Treasurer 

Alan Convery 

Sean Howard 

Chris Lorway 

Robert Rottapel 

Katherine Smalley 

Daniel Weinzweig 

ADVISORY COMITTEE 

Lois Lilienstein, C.M., D.H.L 

Hy Sarick 

Andrea Alexander 

ADVISORS 

Trevor Goodgoll, Marketing 

Ian Alexander, Strategic Planning

TANGO 

Tuesday, November 29 th , 2011 at 8p.m. 

Koerner Hall, TELUS Centre for Performance and Learning 273 Bloor St. West 

Verónica Larc, voice | Serouj Kradjian, piano | Lara St. John, violin, 

Dave Young, bass | Hector del Curto, bandoneon | Joseph Petric, accordion 

SOUNDSTREAMS’ 

PATH TO LEADERSHIP 

A Statement of Vision, Mission and Values 

Powered by a bold and adventurous imagination, we program 

culturally provocative concerts and festivals by weaving together 

music and ideas from globally diverse genres, artists and eras. 

This international centre for new directions in music will ignite 

audiences with compelling live music experiences as it achieves 

significant levels of recognition and engagement. 

With this momentum, we will be the driving force for Canada’s 

international cultural exchange and leadership and inspire youth 

locally and internationally in creating the future of music. 

Isaac Albeniz (1860-1909, Spain) 

Leopold Godowsky (1870-1938, Poland) 

Ángel G. Villoldo (1861-1919, Argentina) 

arr. Serouj Kradjian (b. 1973, Lebanon) 

Jacob Gade (1879-1963, Denmark) 

Peter Kiesewetter (b.1945, Germany) 

Carlos Gardel (1890-1935, Argentina) 

Lucio Demare (1906 – 1974, Argentina) 

James Rolfe (b. 1961, Canada) 

Astor Piazzolla (1921-1992, Argentina) 

PROGRAM 

Tango (1921) 

INTERMISSION 

El Choclo (1903) 

Jalousie (1925) 

Tango Pathetique (1982) 

Por una Cabeza (1935) 

El Día que me Quieras (1935) 

Malena (1942) 

Tango: del Amor Imprevisto (2011) 

World Premiere 

Adiós Nonino (1959) 

Escualo (1980) 

Lawrence Cherney 

Artistic Director of Soundstreams 


Serouj Kradjian (b.1973, Lebanon) 

Igor Stravinsky (1882-1971, Russia) 

Osvaldo Golijov (b.1960, Argentina) 

Ana Sokolovic (1968, Yugoslavia) 


Gerardo Mattos Rodriguez (1897-1948, Uruguay) 

arr. Pascual Contursi (1888-1932, Argentina) & 

Enrique P. Maroni (1887-1957, Argentina) 

Milonga en Re (1970) 

Tango Melancólico (2011) 


Tango for Piano (1940) 

Levante (2004) 

Serbian Tango (2011) 


Milonga del Ángel (1965) 

Fuga y Misterio (1968) 

Oblivión (1982) 

La Cumparsita (1924) 

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Mariano Mores (b. 1918, Argentina) 

Cristal (1944)

INTRODUCTION 

PERFORMER'S BIOGRAPHIES 

We’ve chosen Tango not as a destination but as a place to begin. The Tango 

exists within a cross-cultural context unlike any other contemporary style of 

music. The Tango, to a certain extent, is a universal form that translates easily 

within any cultural traditions. Similar to the fanfare, a sonata, or an oratorio, 

the Tango is a form that is at once easily understood and recognizable, but 

continually being redefined. At Soundstreams we have attempted to locate these 

intersections of Tango with other musics as a way to express the uniqueness and 

interconnectedness of global musical forms. 

Within this concert there are traditional Tangos written by the old masters 

of the form—Astor Piazzolla, Carlos Gardel, and Ángel G. Villoldo – 

in combination with Tangos by Golijov, Gade and Stravinsky, composers 

from drastically different cultural backgrounds yet somehow all influenced, 

or intrigued, by the possibilities that the Tango form contains. We have decided 

to take the creative potential of Tango one step further, through a contemporary 

perspective with commissions of three new Tangos from Canadian composers. 

Each of these new pieces takes the propulsive rhythms, melodic personality and 

the deep emotionality of Tango as expressed through a contemporary lens. 

The versatility of the Tango form is reflected in the variety of ensembles we’re 

presenting this evening. The Tango can speak through almost any combination 

of instruments and performers. This evening we present bandoneon player 

Hector Del Curto, one of Argentina’s main proponents of the Tango repertoire, 

performing with powerful Canadian artists, Serouj Kradjian and Lara St. John, 

who are commonly heard in the classical realm, the world-renowned Jazz 

bassist, Dave Young, accordionist Joseph Petric, and Uruguayan-born Tango 

singer Verónica Larc. At first this group may seem to have extremely disparate 

sets of musical practices and traditions, however it is through the common form 

of the Tango that these amazing instrumentalists come together. The Tango is 

a bridge that connects musical traditions offering an exciting view into 

cross-cultural possibilities. 

– Kyle Brenders, Artistic Associate 

Héctor Del Curto, bandoneon 

Praised by the New York Times as a “splendid player”, 

Argentinean bandoneonist Héctor Del Curto has captivated 

the audiences around the world as a soloist and chamber 

musician, sharing the stage with the world–renowned tango 

legends Astor Piazzolla and Osvaldo Pugliese, pianist Pablo 

Ziegler, clarinetist Paquito D´Rivera, ballet dancer Julio Bocca, 

National Symphony Orchestra (Washington D.C.), Buenos Aires Symphony 

Orchestra and Teatro Colón Ballet among many others. 

After a Carnegie Hall concert in April 1999 with the Orpheus Chamber Orchestra 

and outstanding artists such as Gary Burton, Joe Lovano, Pablo Ziegler, José Angel 

Trelles and Maria Graña, the New York Times highlighted Mr. Del Curto´s artistry, 

making special mention of his “wistful, piercing solos on the bandoneon.” 

Mr. Del Curto had won the title of “Best Bandoneon Player under 25” when he 

was only 17 years of age. This award led, Osvaldo Pugliese to invite him to play 

in his legendary orchestra, which made him the youngest bandoneonist in the 

history of Pugliese’s Orchestra. In 1999, Héctor Del Curto received the Golden 

Note Award from the Italian–American Network in recognition of his artistic 

achievements. As conductor, he directed the spectacular show “Forever Tango” on 

Broadway and founded the “Eternal Tango Orchestra” a ten-piece ensemble. Mr. 

Del Curto has produced a critically acclaimed CD, Eternal Tango and the album was 

successfully released at Jazz Standard in New York City in June, 2007. 

Héctor Del Curto´s recordings include performances with Osvaldo Pugliese and 

Astor Piazzolla on “Finally Together” (Lucho Records), Pablo Ziegler on the 

albums “Asphalt” and “Quintet for the New Tango” (BMG), “Tango Magic” 

(Sony Music–USA) on video and DVD and “Tango and All That Jazz” (Kind of 

Blue Records), and Luis Borda Cuarteto on “Linea de Tango” (Jazz and Fusion 

Records). He also appears as guest artist in recordings such as Tito Puente’s 

“Masterpiece”, Paquito D´Rivera´s “Funk Tango”, Ricardo Arjona´s “Santo 

Pecado” (Sony International), and Shakira´s “Laundry Services” (BMG). 

Serouj Kradjian, piano 

Juno award winning Armenian-Canadian pianist Serouj 

Kradjian has been described as “a keyboard acrobat” of 

“crystal virtuosity”, having “fiery temperament and 

elegant sound” with “a technique to burn.” Mr. Kradjian 

has appeared with the Vancouver and Edmonton Symphonies, 

Madrid Symphony, Göttingen Symphony, Russian 

National Orchestra, the Armenian Philharmonic and the 

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Thailand Philharmonic under the baton of such eminent conductors as Bramwell 

Tovey, Stéphane Denève, Gudni Emilsson and Raffi Armenian. 

Solo and chamber music recitals have taken Mr. Kradjian from such Canadian cities 

as Toronto (Roy Thomson Hall and Toronto Centre for the Arts), Montreal, Quebec 

City, Ottawa, Vancouver (Orpheum Theatre), and Edmonton (Winspear Centre), 

via the U.S - New York (Carnegie Hall), Atlanta (Spivey Hall), Miami, Chicago 

(Cultural Center) and Los Angeles - to European concert halls in Paris, Düsseldorf, 

Hanover, Munich, Salzburg, Trondheim, Lausanne, Geneva, Nicosia, Madrid, 

Barcelona and Bilbao and to the Far East in Bangkok,Thailand and Tokyo,Japan. 

He has been invited to prestigious festivals, amongst them, the Bergen Festival, 

Savannah Music Festival, Colmar Festival and the Festival Del Sole- Tuscan Sun 

Festival in Cortona, Italy. 

Serouj Kradjian’s discography includes the highly acclaimed traversals of Franz 

Liszt’s Transcendental Etudes and Piano Concerti on the Warner Music Spain 

label, “Miniatures”, an anthology of music written by Armenian composers, and 

Robert Schumann’s three Sonatas for Violin and Piano (with Ara Malikian), 

both Hänssler Classic releases. In 2002, he began working with soprano Isabel 

Bayrakdarian and their disc of songs by Pauline Viardot-Garcia was released in 2005, 

bringing the two artists, who are a married couple, international accolades and a 

2006 Juno Award for Classical Album of the Year. His concerts have been broadcast 

by the CBC, Radio de la Suisse Romande, Radio and TV España, the BBC, the 

Süddeutsche Rundfunk and NHK Japan. 

Works composed or arranged by Serouj Kradjian have been performed by I Musici 

Montreal, the Vancouver Symphony and the Elmer Iseler Singers. He has especially 

enjoyed exploring and performing tango music which led to the critically acclaimed 

disc “Tango Notturno” on CBC Records. His orchestral arrangements of folk songs by 

Gomidas – Armenia’s national composer – were recently recorded and will be 

released in 2008. Kradjian was also founder and music director of Camerata 

Creativa in Madrid, Spain, a chamber orchestra dedicated to the performance 

of contemporary works. 

Serouj Kradjian began his studies at the age of five, and by seven had won a National 

Competition for Young Musicians. At fourteen he earned a scholarship to study in Vienna, 

and later studied with Marietta Orlov at the University of Toronto’s Faculty of 

Music, where he earned a B.A. in Piano Performance in 1994. He studied with Einar 

Steen-Nökleberg at the Hochschule für Musik und Theater in Hanover, 

receiving the coveted Solo Performance degree in 2001. Mr. Kradjian’s talent has 

been acknowledged by the Chalmers Grant of the Ontario Arts Council and the 

Canada Council. In the 2008/09 season Mr. Kradjian will become the pianist of the 

Amici Chamber Ensemble. 

Source: www.serouj.com 

Verónica Larc, voice 

Born in Montevideo, Uruguay, Verónica Larc grew up in 

Buenos Aires. At the age of six, she was initiated to voice, 

guitar and classical ballet. She arrived in Quebec, Canada, 

in 1978 and continued her studies in classical guitar at the 

Quebec Music Conservatory in Montreal. Around the same 

period, Verónica increasingly integrated her voice to her 

musical panorama. 

By 1986, she made her first tango professional appearance – with her father the 

bandoneon player Romulo Larrea – at the Universal Exhibition of Vancouver, 

Canada. Since then, their collaboration has flourished and she regularly tours 

with the Romulo Larrea Tango Ensemble. 

Verónica added tours throughout the United States, Canada, Europe and South 

America. She has performed in several concert halls including at the Trifolion 

(Echternach – Luxembourg), Wiesbaden Kurpark (Rheingau Festival), Teatro 

Alvear and Teatro San Martin in Buenos Aires, at the Vaz Ferreira concert hall in 

Montevideo, at Orange County Performing Arts Centre in California, at The Town 

Hall Theatre – Broadway, at Meany Hall Theater (Seattle, Washington) at Place 

des Arts, Montréal, at Palais Montcalm and Grand Théâtre de Québec and at the 

National arts Centre in Ottawa. 

Larc also performed with Piazzolla's collaborators: cellist José Bragato and poet 

Horacio Ferrer, as well as guitarist and Aniello Desiderio, cellist Antonio Lysy and 

clarinetist André Moisan. 

Guided by her South American ancestry and her North American experience, 

Verónica has amplified her artistic work to include production aspects of her 

performances. Larc has been recognized as "La nueva voz del tango" (the new voice 

of tango) and represents the third generation of her family’s passion for Tango. 

Joseph Petric, accordion 

Laureate of the BBC3 Radio and CBC National Radio 

Auditions, JUNO and Prix Opus winner, and the first 

instrumentalist recipient of the Friend of Canadian Music 

Award, accordionist Joseph Petric has enjoyed a distinguished 

inter national career in more than 20 countries since 1986. 

He has toured for presenters as diverse as Columbia Artists, 

Jeunesses Musicales, Debut Atlantic, and England’s John Lewis Partnership. A 

mainstay of CBC programming, his performances have been described as 

“riveting’ (Gramophone) “miraculous” (Winnipeg Free Press), and “strong, 

committed, particularly memorable” (New York Times). 

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Based in Toronto, Joseph Petric’s concerto-led career has enjoyed the financial 

support of the Koussevitsky Foundation, Swedish Reikskonzerter, CBC, the Laidlaw 

Foun- dation, the Ontario Arts Council and the Canada Council for the Arts. This 

support resulted in extended tours, international live-to-air broadcasts, and return 

concerto engagements with the BBC Orchestra, Societe Radio Canada’s Carte Blanche 

series, the Toronto Symphony Orchestra, l’Orchestre Symphonique de Quebec, the 

CBC Vancouver Chamber Orchestra, Camerata Nordica of Sweden, Boston Modern 

Orchestra, Montreal’s Nouvel Ensemble Moderne, and the Concertante di Chicago. 

A recitalist of choice, Petric was the first accordionist to offer European and 

American debuts to critical acclaim. He has appeared as soloist at the Merkin 

Concert Hall, London’s Southbank Centre, the Kennedy Centre, Franz Berwald Hall, 

Die Yjsbrekker, Musikhaus Vienna, Roy Thomson and Massey Hall, Bridgewater 

Hall Manchester, IRCAM, and Seiji Ozawa Hall among others. Petric’s celebrated 

recordings of more than 30 titles include the Berio Sequenza (Naxos), the Koprowski 

Accordion Concerto with the Toronto Symphony (CBC5000 Series), a chamber version 

of Schubert’s Die Winterreise with tenor Christoph Pregardien (ATMA), the Bach Trio 

Sonatas in adaptation with oboist Normand Forget (Odeofon) as well as solo keyboard 

works by Antonio Soler, J.S. Bach and C.P.E. Bach (Analekta). 

Since 1986, Petric has commissioned more than 230 works. He enjoys sharing his 

passion for the accordion in community outreach for children and adults, and has 

been invited to give master classes, recitals and lectures at London’s Royal Academy, 

Copenhagen Royal Conservatory, Sibelious Academy, McGill Schulich School, and the 

University of Toronto. Joseph Petric studied musicology with Rika Maniates 

(University of Toronto), interpretation with Colin Tilney, performance with Hugo 

Noth (Trossingen Hochschule fur Musik), and accordion with Joe Macerollo. 

Europe twice with Jeunesses Musicales. In 1993 she represented Canada at the 

European Cultural Forum in Budapest. The Canada Council awarded her its Sylva 

Gelber Prize in 1991 and the loan of a 1702 Lyall Stradivarius in 1997. 

Source: www.thecanadianencyclopedia.com 

Lara St. John Personal Direction: Stephen H. Judson, Judson Management Group 

Inc., 145 East 57th Street, New York, NY 10022, Telephone: +1-212-974-1917. 

Dave Young, bass 

Bassist Dave Young is a national treasure in his native Canada 

with an impressively rich and diverse musical history. He is 

educated as both a jazz and classical player. As classical 

artist, he was the Principal Bassist for a number of years with 

the Edmonton and Winnipeg Symphonies as well as with the 

Hamilton Philharmonic Orchestra. As a jazz artist, he is a 

chameleon-like bassist, who often shines brightest in collaborative efforts with such 

jazzmen as Oscar Peterson, Clark Terry, Zoot Simms, Joe Williams, Oliver Jones, 

Rob McConnell, Kenny Burrell, Hank Jones, Nat Adderley, James Moody, Cedar 

Walton, and Peter Appleyard. Dave received the 1993 Juno Award for “Best 

Mainstream Jazz Recording” for Fables and Dreams, several Jazz Report Awards 

including “Acoustic Bassist of the Year” in 1996, 1997 and 1998, and “Musician 

of the Year” in 1997 and 1998. He was selected “Bassist of the Year” in 2003 

and 2004 by the National Jazz Awards. 

Lara St. John, violin 

Child prodigy Lara St. John began learning the Suzuki violin 

method at age two. She debuted with the Windsor Symphony 

Orchestra (with her brother, Scott St. John) at age four, playing 

Bach’s Concerto for Two Violins; at five, she soloed with 

Orchestra London Canada. Her first teacher (1974-84) was 

Richard Lawrence. She later studied with Linda Cerone at the 

Cleveland Institute of Music and Arnold Steinhardt and Jascha Brodsky 1985-87 

at the Curtis Institute of Music; at the Moscow Conservatory; with David Takeno 

1990-91 at the Guildhall School in London, England, under a Chalmers grant; and 

with Felix Galimir 1994-96 at Mannes College, New York. St. John was grand national 

champion in the Canadian Music Competitions (1980) and a national first place winner 

five times 1978-84. She won fourth place in the Menuhin International Violin 

Competition (1985), was a semi-finalist in the Montreal International Music 

Competition (1987), and won a premier prix at the Concours Nerini in France. She 

made her European debut with Lisbon’s Gulbenkian Orchestra in 1981, and toured 

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COMPOSER'S BIOGRAPHIES 

Isaac Albeniz 

Isaac Albeniz was a Spanish pianist and composer, best known 

for his piano works that are based on Spanish folk music. 

Born in Camprodon, Catalonia, Albéniz was a child prodigy 

who first performed at the age of four. At age seven he passed 

the entrance examination for piano at the Paris Conservatoire, 

but he was refused admission for his unruly behavior. After 

going to the Madrid Conservatory, he ran away and became a vagabond, making 

a living by playing. By age fifteen, he had already given concerts worldwide. After 

a short stay at the Leipzig conservatory, in 1876 he went to study in Brussels. In 

1880, he went to Budapest to study with Franz Liszt, only to find out that Liszt 

was in Weimar, Germany. In 1883 he met the teacher and composer Felipe Pedrell 

(1841–1921), who inspired him to write Spanish music such as the Suite Española, 

Op. 47. The Fifth Movement of that suite, called Asturias (Leyenda) is probably 

most famous these days in the classical guitar world, even though it was originally 

composed for piano, and only later transcribed to guitar by Francisco Tárrega. 

During the 1890s Albéniz lived in London and Paris and wrote mainly theatrical 

works. In 1900 he started to suffer from kidney disease and returned to the writing 

of piano music. Between 1905 and 1909 he composed his most famous work, 

Iberia (1906–1909), a suite of twelve piano ‘impressions’. Albéniz died in 1909 at 

age 48 in Cambo-les-Bains and is buried in the Cemeteri del Sudoest, Barcelona. 

Source: http://www.8notes.com/biographies/albeniz.asp 

Lucio Demare 

Lucio Demare was born in Buenos Aires. His father was the 

violinist Domingo Demare. He studied the technical disciplines 

of the instrument with Vicente Scaramuzza. In his professional 

beginnings he joined the orchestra fronted by the bandoneonist 

Nicolás Verona. In 1926 Francisco Canaro – then playing in 

France and about to leave for New York – wanted to leave a 

group under his name in Paris , so he summoned him to join it 

at the Florida dancehall. 

Thereafter, on recommendation of the composer of La tablada, he teamed up with 

the singers Agustín Irusta and Roberto Fugazot to form the well– known Irusta – 

Fugazot‐Demare trio that made its debut at the Teatro Maravillas of Madrid. 

With his trio partners he starred in some Spanish films –Boliche, among them – 

cutting a series of recordings for Victor in Barcelona. Among them we highlight 

Capricho de Amor, played by him on piano and Sam Reznik on violin, and Mi Musa 

campera, recorded by an orchestra he conducted and with Agustín Irusta on vocals. 

After two long and successful tours of the countries of Central and South America 

and a second European season he definitively returned to Buenos Aires in 1936. 

Like his brother Lucas – each one in his own field – he worked in the Argentine 

movies. His musical work was repeatedly awarded by the Academia de Artes y 

Ciencias Cinematográficas and by the Municipalidad de Buenos Aires. He 

alternated this task with a brief re-appearance of his trio in Buenos Aires that 

performed with Canaro in the comedy Mal de Amores, and with some new 

collaborations with the composer of El Pollito when the latter had two pianos in 

his orchestra (the regular player was Luis Riccardi). But in 1938 he put together 

his own trio, later teaming up his name with Elvino Vardaro’s to appear on Radio 

Belgrano both of them, with Alfredo Calabró as lead bandoneon and Juan Carlos 

Miranda as vocalist. 

From 1939, after he split with Vardaro, he continued his career as bandleader 

successfully and has recorded sixty-two numbers for Odeon with Miranda, Raúl 

Berón and Horacio Quintana on vocals since La Racha and Telón. After 1950 he 

recorded with his orchestra for Columbia, for T.K. and for Artfono, then with the 

vocalists Héctor Alvarado and Armando Garrido. With his orchestra, he appeared 

in the movie Sangre y acero (1955). In later years the most important parts of his 

career were linked to his outstanding work as soloist – on occasions shared with 

Ciriaco Ortiz or with Máximo Mori – in Buenos Aires night clubs, and in his own 

venue, the Tanguería de Lucio, on Cangallo Street. In 1969 it moved to San Telmo, 

on Balcarce and Giuffra, now named Malena al Sur. 

Jacob Gade 

Jacob Gade’s Tango Jalousieis the best-known piece of music 

written by any Dane. As late as the 1970s, someone on the 

planet played Tango Jalousy once every minute; only the 

Beatles’ Yesterday could match its success. Jacob Gade (who 

was no relation of Niels W. Gade) began his career like many 

other Danish composers of his period as a country-dance 

fiddler. He never had any formal training, but around the turn of the century 

was very successful as a bandleader and ‘Stehgeiger’ (standing lead violinist) at 

Copenhagen restaurants and theatres. His many light compositions, salon music and 

revue songs, made him one of the most popular entertainment composers in the city. 

In 1921 he became leader of the big orchestra at the Palads Cinema in Copenhagen. 

It was as accompaniment to a silent film that he wrote his Tango Jalousy. When the 

silent film yielded place around 1931 to the ‘talking’ film with its own music, Jacob 

Gade ended his career as a performing musician. He moved back to the countryside, 

lived on the ample royalties from his entertainment music, and took the time to work 

with more ambitious orchestral pieces. 

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Carlos Gardel 

Carlos Gardel arrived in Buenos Aires at the age of two. As a 

young man he became known in the clubs and cafés of the 

barrios (districts) in Buenos Aires, establishing a famous 

folk singing duo with José Razzano. But it was in the 1920s, 

when he began to specialise in tango singing, that he rose to 

extraordinary fame. 

Known as El Zorzal Criollo, the songbird of Buenos Aires, Carlos Gardel is a 

legendary figure in Argentina. The charismatic French-born singer’s career 

coincided with the development of that intrinsically Argentine cultural icon, the 

tango (the vulgar music and dance of Buenos Aires’ tenements). Gardel made the 

music his own by inventing the tango-song, and was an instant popular hit in Latin 

American countries. The elite overcame their aversion to the tango’s humble origins 

and open sensuality only when the man and his music were already widely accepted 

in New York and Paris. Radio performances and a film career extended this appeal. 

Source: www.argentour.com 

Leopold Godowsky 

The famous Polish-born American pianist, composer and 

pedagogue, Leopold Godowsky, was born to Jewish parents 

in Sozły, near Vilna, in what was then Russian territory but is 

now part of Lithuania. He considered himself of Polish heritage. 

As a child, he received some lessons in basic piano playing 

and music theory; at age fourteen, he entered the Königliche 

Hochschule für Musik in Berlin, where he studied under Ernst Rudorff, but left 

after three months. Otherwise, he was self-taught. 

Leopold Godowsky’s career as a concert pianist, which eventually would take him to 

every continent except Australia, began at age ten. In 1886, after a tour of North 

America, he returned to Europe, intending to study with Franz Liszt in 

Weimar. Upon learning of F. Liszt’s death shortly after his return, he traveled 

instead to Paris, where he was befriended by the composer and pianist Camille 

Saint-Saëns, who enabled him to make the acquaintance of many leading French 

musicians. Saint-Saëns even proposed to adopt Godowsky if he would take his 

surname, an offer which Godowsky declined, much to the older man’s displeasure.  

Leopold Godowsky’s pedagogical activity began in 1890 at the New York College 

of Music. While in New York, he married Frieda Saxe and the next day became an 

American citizen. In 1894 he moved to the Broad Street Conservatory in Philadelphia, 

and again in 1895 to the Chicago Conservatory, where he headed the piano 

department. A successful European concert tour in 1900 landed him once again 

in Berlin, where he divided his time between performing and teaching. From 1909 

to 1914 he taught master classes at the Vienna Academy of Music (Konservatorium 

Wien). The outbreak of World War I drove him back to New York, where his 

home was frequented by many distinguished performers and celebrities of that 

day. Sergei Rachmaninov, a particular friend, dedicated his Polka de W. R. to him. 

Godowsky 

was also a close friend of Einstein.   

Source: http://www.bach-cantatas.com 

Osvaldo Golijov 

Osvaldo Golijov is known for his musical hybridity in combining 

the traditions of classical chamber, Jewish liturgical, and 

klezmer music with hints of the tango of Astor Piazzolla in 

his compositions. Recipient of the MacArthur “Genius Grant” 

Fellowship and the Vilcek Prize as well as two GRAMMY Awards in 2006: Best 

Opera Recording and Best Contemporary Composition for Ainadamar, released on 

Deutsche Grammophon. He composed several compositions for soprano Dawn 

Upshaw over the past decade including the Three Songs for Soprano and 

Orchestra, the opera Ainadamar, the cycle Ayre, and a number of arrangements 

of popular and classical songs. In 2006, Lincoln Center presented a sold out 

festival entitled The Passion of Osvaldo Golijov featuring multiple performances of 

his works over the course of two months. 

He is currently the co-composer-in-residence with the Chicago Symphony Orchestra. 

He composed the soundtrack for Francis Ford Coppola’s Youth Without 

Youth and the recently released Tetro. Works by Osvaldo Golijov include: Ainadamar 

(2004) opera, La Pasión según San Marcos (2000) for soloists, chorus and 

orchestra and Ayre (2004) for soprano and ensemble 

Source: http://www.instantencore.com 

Peter Kiesewetter 

Born on 1 May 1945 in Lower Franconia, to Silesian 

Marktheidenfeld parents, Peter Kiesewetter first began music 

lessons at the age of twelve in Augsburg. In 1966 he started 

his composition studies at the Munich Academy of Music with 

Günter Bialas. At this time he also worked for many years as 

a music journalist. After graduation, he conducted the concert 

series "Music of our time", worked as a lecturer at the College of Music, studied 

musicology in 1980 and attended the Darmstadt Summer Courses for New Music. 

In 1982 he gave up his journalism in order to devote himself to composition. In 

1991 he became professor at the Munich Academy of Music, a year later, he was 

appointed as professor of composition at the Musikhochschule Hannover. 

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Gerardo Mattos Rodriguez 

He was the creator of the worldwide known and most 

successful tango of all times: La cumparsita. He also 

composed a large worthy repertory undoubtedly superior to 

the most famous of his numbers. He was born March 28, 1897 

in Montevideo, Uruguay, son of don Emilio Matos owner of the 

cabaret named Moulin Rouge. He studied architecture in the 

disappeared Mathematics School of his home town. 

He soon quit those studies because he was attracted by the then intense and varied 

night life of the capital. An amateur pianist, he composed in 1917 his renowned 

tango La cumparsita on the piano of the Federación de Estudiantes of Uruguay. 

Later on La cumparsita had a second period in his long successful history when 

Pascual Contursi and Enrique P. Maroni, modifying the original music without 

permission of its composer added a lyric and a new title to it —Si supieras—, 

what originated a long and difficult judicial proceeding. 

When he left Montevideo he lived in Buenos Aires and in Paris, and worked as Uruguayan 

consul to Germany. In 1931 he collaborated in the music of the movie Luces 

de Buenos Aires shot in Joinville, France which starred Carlos Gardel. 

He also composed pieces for theater plays premiered in Buenos Aires: Manuel 

Romero’s El Gran Circo Rivolta, among them. Thereafter in Montevideo he led his 

own tango orchestra for a short time. 

Source: http://www.todotango.com 

Mariano Mores 

Argentinean celebrity Mariano Mores was seduced by classical 

music at a very young age. After a year of taking piano classes, 

the artist received a scholarship to study in Salamanca, Spain. 

Later, while listening to Carlos Gardel, the musician was captivated 

by tango. After meeting Mirna and Margot Mores at 

PADI, a music academy, the talented pianist joined their act, called Las Hermanitas 

Mores, adopting their last name. At the age of 17, Mariano Mores became the pianist 

for popular singer Francisco Canario, playing for him for more than a decade, 

later forming Orquesta de Cámara del Tango and Orquesta Lírica Popular Argentina. 

In the movies, Mariano Mores successfully played roles in classic films such 

as La Doctora Quiere Tango and La Voz De Mi Ciudad. In the year 2000, the artist 

was voted Best Tango Composer of the Century by local authorities. 

– Drago Bonacich, All Music Guide 

Astor Piazzolla 

Astor Piazzolla was born in Argentina in 1921 and became one 

of the major classical composers of that country. He became so 

besotted by the music of the South American dance, The Tango, 

that he destroyed his early works and devoted his life to writing 

music with that rhythm as its basis. He has developed this art to 

the point where it is difficult to detect the dance in his complex and strictly classical 

music. Outside of the South American continent his music was little known until the 

past decade, when a renewed interest in the dance, mainly through major exposure in 

the cinema, has taken his works back into the concert hall. Though there are examples 

of the dance used in its most basic and popular form, Piazzolla has composed 

most of his music for small chamber groups or solo instruments. Most is written in a 

very contemporary 20th century style, 

usually calling for virtuosity of performance. 

Source: www.naxos.com 

James Rolfe 

Toronto composer James Rolfe has been commissioned and performed 

by ensembles in Canada (including Arraymusic, 

Continuum, Esprit Orchestra, Soundstreams, and Vancouver 

New Music), the USA (Bang on a Can All-Stars), Europe (Asko 

Ensemble, Ensemble Contrechamps de Genève, Ensemble Avant 

Garde, Ives Ensemble, Ixion Ensemble, Nash Ensemble, Nieuw 

Ensemble), and New Zealand (175 East). He received a Guggenheim Fellowship in 

2000, the K. M. Hunter Music Award in 2003, the 2005 Louis Applebaum Composers 

Award, and the 2006 Jules Léger Prize for New Chamber Music for raW, which was 

later toured in Europe by Toronto’s Continuum Contemporary Music. 

Mr. Rolfe writes music for chamber ensemble, orchestra, choir, voice, and the 

operatic stage. The Queen of Puddings Music Theatre Company produced his first 

opera, Beatrice Chancy, in 1998-99 in Toronto, Dartmouth, and Edmonton. In 

February 2009 they premiered Inês, which features a Portuguese Fado singer 

alongside four opera singers. In 2006, the children’s opera Elijah’s Kite was 

premiered in New York by Tapestry New Opera Works with the Manhattan School 

of Music, and given its Canadian premiere at Rideau Hall. Swoon was premiered in 

December 2006 by the Canadian Opera Company, which has since commissioned a 

new opera to be premiered in 2012. 

Ana Sokolović 

Born in 1968 in Belgrade, Yugoslavia, Ana studied composition 

with Dusan Radic at the University of Novi Sad and with Zoran 

Eric at the University of Belgrade before completing a Master’s 

degree at the Université de Montréal under José Evangelista. 

16 

17

Between 1995 and 1998, Ana Sokolovic received three awards from the SOCAN 

Young Composers’ Competition. In 1999, she was awarded the First Prize at 

the CBC National Young Composers’ Competition. Sokolovic has received commissions 

from the Ensemble contemporain de Montréal, the Société de musique 

contemporaine du Québec, the Brune dance company, the Quatuor Molinari, the 

Esprit Orchestra, the Orchestre baroque de Montréal, the Orchestre symphonique 

de Montréal, the Queen of Puddings Music Theatre Company, the Pentaèdre wind 

quintet and pianist Marc Couroux, and she has been the recipient of several grants 

from the Conseil des arts et des lettres du Québec and the Canada Council for the 

Arts. In 1996, she was the Quebec Delegate at the Unesco International Rostrum of 

Composers in Paris. 

Igor Stravinsky 

Russian-born U.S. composer and son of an operatic bass, 

he decided to be a composer at age 20 and studied privately 

with Nikolay Rimsky-Korsakov (1902–08). His Fireworks 

(1908) was heard by the impresario Sergey Diaghilev, who 

commissioned Stravinsky to write the Firebird ballet (1910); 

its dazzling success made him Russia’s leading young 

composer. The great ballet score Petrushka (1911) followed. His next ballet, 

The Rite of Spring (1913), with its shifting and audacious rhythms and its unresolved 

dissonances, was a landmark in music history; its Paris premiere caused an actual 

riot in the theatre, and Stravinsky’s international notoriety was assured. In the early 

1920s he adopted a radically different style of restrained Neoclassicism – employing 

often ironic references to older music – in works such as his Octet (1923). His major 

Neoclassical works include Oedipus rex (1927) and the Symphony of Psalms (1930) 

and culminate in the opera The Rake’s Progress (1951). From 1954 he employed 

serialism, a compositional technique. His later works include Agon (1957) – 

the last of his many ballets choreographed by George Balanchine – and 

Requiem Canticles (1966). 

Copyright © 1994-2010 Encyclopædia Britannica, Inc. 

Angel Villoldo was born into a destitute family in the neighborhood of Barracas. 

He quit school early to work and did many types of jobs including teamster, 

herdsman, topographer, writer and circus clown. But he heard music always in 

his mind and when he was guiding his team of horses through the mud or hostile 

elements he was composing in his head. He began acquiring fame performing his 

composition while accompanying himself with guitar and harmonica in the local 

cafes and bars; in 1889 he published Cantos Criollos a book of lyrics meant to be 

sung with guitar accompaniment. Interestingly, he invented the apparatus which 

allows the playing of the harmonica while strumming the guitar which many years 

later would become the symbol of a young, tormented Bob Dylan. 

He wrote a sort of popular comics which were full of wit and sarcasm using the 

argot from the lowest rung of society. He devised a method of learning to play guitar 

using symbols called Metodo America which he published in 1917. His first tango 

hit El Portenito, was sung by Dorita Miramar in 1903 on the stage of the Parisien 

Varitè Show. For Gath and Chaves, he traveled to France to use state of the art 

recording equipment to record tangos and helped popularize tango in France; he 

wrote the lyrics for La Morocha which was the first beloved tango in Europe. And 

finally, he left as he came, poor, when he was run over by a tram at the age of 58. 

Source: http://todayintango.wordpress.com 

Ángel G. Villoldo (1861 – 1919) 

Singer, Lyricist, Guitarist, Pianist, Violinist, Harmonica 

(Aquarius) – he was a fascinating man, a sort of Ernest 

Hemingway and Bob Dylan all in one…he was a prolific 

composer and lyricist having written some of the most 

beloved tangos in history. His immortal tango El Choclo 

was so ubiquitous that during World War I, German officers 

wishing to honor a visiting Argentinean dignitary mistakenly played El Choclo 

believing it to be the national anthem. It continues to our very day to be one of the 

most instantly recognized pieces of music in history and yet when it premiered at 

the exclusive El Americano restaurant in Buenos Aires, the leader of the orchestra 

had to disguise it by calling it Danza Criolla as the owner did not like tango music. 

18 

19

TEXTS 

Por Una Cabeza 

Lyrics By: Carlos Gardel and 

Alfredo Le Pera 

Por una cabeza de un noble potrillo 

que justo en la raya afloja al llegar 

y que al regresar parece decir: 

no olvides, hermano, 

vos sabes, no hay que jugar... 

Por una cabeza, metejon de un dia, 

de aquella coqueta y risueña mujer 

que al jurar sonriendo, 

el amor que esta mintiendo 

quema en una hoguera todo mi querer. 

Por una cabeza 

todas las locuras 

su boca que besa 

borra la tristeza, 

calma la amargura. 

Por una cabeza 

si ella me olvida 

que importa perderme, 

mil veces la vida 

para que vivir... 

Cuantos desengaños, por una cabeza, 

yo jure mil veces no vuelvo a insistir 

pero si un mirar me hiere al pasar, 

su boca de fuego, otra vez, quiero besar. 

Basta de carreras, se acabo la timba, 

un final reñido yo no vuelvo a ver, 

pero si algun pingo llega a ser fija el 

domingo, 

yo me juego entero, que le voy a hacer. 

Losing by a head of a noble horse 

who slackens just down the stretch 

and when it comes back it seems to say: 

don't forget brother, 

You know, you shouldn't bet. 

Losing by a head, instant violent love 

of that flirtatious and cheerful woman 

who, swearing with a smile 

a love she's lying about, 

burns in a blaze all my love. 

Losing by a head 

there was all that madness; 

her mouth in a kiss 

wipes out the sadness, 

it soothes the bitterness. 

Losing by a head 

if she forgets me, 

no matter to lose 

my life a thousand times; 

what to live for... 

Many deceptions, loosing by a head, 

I swore a thousand times not to insist 

again 

but if a look sways me on passing by 

her lips of fire, I want to kiss once more. 

Enough of race tracks, no more gambling, 

a photo-finish I'm not watching again, 

but if a pony looks like a sure thing on 

Sunday, 

I'll bet everything again, what can I do 

Y si es mío el amparo   

de tu risa leve 

que es como un cantar,   

ella aquieta mi herida,   

¡todo todo se olvida! ... 

El día que me quieras   

la rosa que engalana,   

se vestirá de fiesta con su mejor color.   

Y al viento las campanas   

dirán que ya eres mía,   

y locas las fontanas   

se contarán tu amor. 

La noche que me quieras   

desde el azul del cielo,   

las estrellas celosas   

nos mirarán pasar.   

Y un rayo misterioso   

hara nido en tu pelo,   

luciérnaga curiosa que verá ... 

¡que eres mi consuelo!... 

(Recitado) 


no habrá más que armonías.   

Será clara la aurora   

y alegre el manantial.   

Traerá quieta la brisa   

rumor de melodía y nos 

darán las fuentes   

su canto de cristal.   


endulzará sus cuerdas   

el pájaro cantor,  

florecerá la vida no existirá el dolor! 

And if I have the comfort   

Of your singing laughter, 

whose bursts always seem  

To make my wound feel better,  

I become a forgetter! 

The day when you will love me   

The lovely roses clinging  

To my old house will dress up  

In all their festive hue.  

The wind chimes will be ringing   

To tell the world you’re mine now;   

The fountains, madly singing   

How I am loved by you. 

The night when you will love me,   

From the blue sky above us  

The jealous stars will see us  

As we walk hand in hand.  

A ray of light, mysterious,   

Will nest in your dark tresses,   

A glowworm, ever curious,  

Who will see... you’re the gift that blesses! 

(Spoken) 

The day when you will love me  

All things will be harmonious.   

So bright will be the dawn and  

So bubbly the spring 

The quiet breeze will carry   

The sound of gentle music,  

And we will hear the fountains’  

Crystalline voices sing.  

The day when you will love me  

The singing birds will sweeten   

Their chords beyond belief,  

Life will be full of flowers,  

There will be no more grief! 

El Día que me Quieras 

Lyrics by Alfredo Le Pera,  

Translation by Coby Lubliner 

Acaricia mi ensueño   

el suave murmullo de tu suspirar.   

Como ríe la vida   

si tus ojos negros me quieren mirar.   

I hear you softly breathing;  

That quiet murmur caresses my dream.   

How my life is laughing   

If your big dark eyes look at me with their 

gleam.   

(Cantado) 

La noche que me quieras   

desde el azul del cielo,   

las estrellas celosas   

nos mirarán pasar y un rayo misterioso 

  

hará nido en tu pelo luciérnaga 

curiosa que verá ... 

¡que eres mi consuelo! 

(Sung) 

The night when you will love me,   

From the blue sky above us  

The jealous stars will see us  

As we walk hand in hand and a ray of 

light, mysterious,  

Will nest in your dark tresses,   

A glowworm, ever curious,  

Who will see... you’re the gift that blesses! 

20 

21

Malena 

Lyrics by Homero Nicolás Manzione 

Prestera 

Malena canta el tango como ninguna 

y en cada verso pone su corazón. 

A yuyo de suberbio su voz perfuma. 

Malena tiene pena de bandoneón. 

Tal vez allá, en la infancia, 

su voz de alondra 

tomó ese tono obscuro de callejón; 

o acaso aquel romance que sólo nombra 

cuando se pone triste con el alcohol . . . 

Malena canta el tango 

con voz de sombra; 


Tu canción 

tiene el frío del último encuentro. 

Tu canción 

se hace amarga en la sal del recuerdo. 

Yo no sé 

si tu voz es la flor de una pena; 

sólo sé 

que al rumor de tus tangos, Malena, 

te siento más buena, 

más buena que yo. 

Tus ojos son obscuros como el olvido; 

tus labios, apretados como el rencor; 

tus manos, dos palomos que sienten frío; 

tus venas tienen sangre de 

bandoneón . . . 

Tus tango son criaturas abandonadas 

que cruzan sobre el barro del callejón 

cuando todas las puertas están 

cerradas 

y ladran los fantasmas de la cancion. 

Malena canta el tango con voz quebrada; 


Malena sings the tango like no one else 

and into each verse she pours her heart. 

Her voice is perfumed with the weeds of 

the slum. 

Malena feels the pain of the bandoneón. 

Perhaps there, in her childhood, 

her lark’s voice 

filled with that dark tone of the back alley; 

or maybe that romance is only mentioned 

when she becomes sad with alcohol . . . 

Malena sings the tango 

with a shadowed voice; 


Your song 

has the coldness of a last encounter. 

Your song 

is bitter with a salty memory. 

I don’t know 

if your voice is the bloom of sorrow; 

I only know 

that in the murmur of your tangos, 

Malena, 

I feel you are better, 

much better than I. 

Your eyes are dark like forgetfulness; 

your lips, pressed tight with rancor; 

your hands, two doves that suffer the cold: 

your veins have the blood of the 

bandoneón . . . 

Your tangos are abandoned creatures 

that cross over the mud of a back alley 

when all the doors are closed 

and the ghosts of the song howl. 

Malena sings the tango 

with a broken voice; 


Tango: Del Amor Imprevisto 

Gacela del Amor Imprevisto 

from El Divan del Tamarit 

by Federico García Lorca 

Nadie comprendía el perfume 

de la oscura magnolia de tu vientre. 

Nadie sabía que martirizabas 

un colibrí de amor entre los dientes. 

Mil caballitos persas se dormían 

en la plaza con luna de tu frente, 

mientras que yo enlazaba cuatro noches 

tu cintura, enemiga de la nieve. 

Entre yeso y jazmines, tu mirada 

era un pálido ramo de simientes. 

Yo busqué, para darte, por mi pecho 

las letras de marfil que dicen siempre, 

siempre, siempre: jardín de mi agonía, 

tu cuerpo fugitivo para siempre, 

la sangre de tus venas en mi boca, 

tu boca ya sin luz para mi muerte. 

Adiós Nonino 

Lyrics by, Eladia Blazquez 

Desde una estrella al titilar... 

Me hará señales de acudir, 

Por una luz de eternidad 

Cuando me llame, voy a ir. 

A preguntarle, por ese niño 

Que con su muerte lo perdí, 

Que con “nonino” se me fué... 

Cuando me diga, ven aquí... 

Renaceré... porque... 

No one understood the fragrance 

of the dark magnolia of your belly. 

No one knew you tortured 

a hummingbird of love between those 

teeth. 

A thousand Persian ponies slept 

in the moonlit plaza of your forehead, 

while four nights I bound myself 

to your waist, the enemy of snow. 

Between plaster and jasmine, your glance 

Was a pale branch of seeds. 

I searched my breast 

to give you the ivory letters that spell 

always,always, always: 

garden of my agony, 

your body always elusive, 

the blood of your veins in my mouth, 

your mouth already my tomb, empty 

of light. 

From a scintillating star 

he will signal me to come, 

by a light of eternity 

when he calls me I will go. 

To ask him for that child 

that I lost with his death, 

that with “Nonino” he went... 

When he tells me come here... 

I'll be reborn... because... 

Soy...! la raíz, del país que amasó I am....! the root of the country 

con su arcilla, 

that modeled with its clay, 

Soy...! sangre y piel, del “tano” aquel, que I am....! blood and skin, 

me dió su semilla... 

of that Italian who gave me his seed... 

Adiós “nonino” ... que largo sin vos, será Good-bye “Nonino”... how long the road 

el camino. 

will be without you 

22 

23

Dolor, tristeza, la mesa y el pan...! 

Y mi adiós... ay...! mi adiós, a tu amor, 

tu tabaco, tu vino. 

Quién... sin piedad, me robó la mitad, 

al llevarte “nonino”... 

Tal vez un día, yo también mirando 

atrás... 

Como vos, diga adiós... no vá más...! 

Y hoy mi viejo “nonino” es una planta. 

Es la luz, es el viento y es el río... 

Este torrente mío lo suplanta, 

Prolongando en mi ser, su desafío. 

Me sucedo en su sangre, lo adivino. 

Y presiento en mi voz, su proprio eco. 

Esta voz que una vez, me sonó a hueco 

Cuando le dije adiós... adiós “nonino”. 

Soy...! la raíz, del país que amasó con 

su arcilla, 

Soy...! sangre y piel, del “tano” aquel, 

que me dió su semilla... 

Adiós “nonino” ...! dejaste tu sol, em 

mi destino. 

Tu ardor sin miedo, tu credo de amor. 

Y ese afán... ay...! tu afán, por sembrar 

de esperanza el camino. 

Soy tu panal y esta gota de sal, que hoy 

te llora “nonino”. 

Tal vez el día que se corte mi piolín, 

Te veré y sabré ... que no hay fín. 

Pain, sadness, the table and the bread...! 

any my good-bye.... Ay....! my good-bye 

to your love, your tobacco, your wine. 

Who, without pity, took half of me, 

when taking you “Nonino”.... 

Perhaps one day, I also looking back... 

Will say as you, good-bye... no more 

bets....! 

Today my old “Nonino” is part of nature. 

He is the light, the wind, and the river... 

this torrent within me replaces him, 

extending in me his challenge. 

I perpetuate myself in his blood, I know. 

And anticipate in my voice, his own echo. 

This voice that once sounded hollow to me 

when I sail good-bye... Good-bye “Nonino”. 

I am....! The root of the country 

that modeled with its clay, 

I am....! blood and skin, 

of that Italian who gave me his seed... 

Good-bye “Nonino”... you left your sun in 

my destiny. 

Your fearless ardor, your creed of love, 

And that eagerness... Ah...! your eagerness, 

for seeding the road with hope. 

I am your honeycomb and this drop of sunlight 

that today cries for you “Nonino” 

Perhaps the day when the string is cut 

I will see you and I will know there is no 

end. 

déjà dans la nuit, 

un bateau part, 

s'en va quelque part, 

les gens se séparent, 

j'oublie, j'oublie... 

Tard, 

autre part dans un bar d'acajou, 

des violons nous rejouent, 

notre mélodie, 

mais j'oublie... 

Tard, 

dans ce bar dansant joue contre joue, 

tout devient flou et j'oublie, 

j'oublie... j'oublie 

Court, 

le temps semble court, 

le compte à rebours, 

de nos nuits, 

quand j'oublie, 

jusqu'à notre amour... 

Court, 

le temps semble court, 

tes doigts qui parcourent, 

ma ligne de vie, 

sans un regard, 

des amants s'égarent, 

sur un quai de gare, 

j'oublie, j'oublie... 

J’oublie.... 

Killer of fergetfulness and memory 

He is king Oblivion 

It is like a passional well 

burial that bleeds when it blooms 

the heart stigmas. 

Light from today's happy times 

Oblivion 

you are going to erase me. 

tiring challenge, 

goes back to zero, 

reality is the same, 

the best 

the fatal. 

He hyptonizes you with painful 

honey with no love. 

To erase the stupid, 

bitter and despicable yesterday. 

Oblivion king. 

Oblivion king 

of forgetfulness. 

Oblivión 

Lyrics by David McNeil 

Lourds, 

soudain semblent lourds, 

les draps, les velours, 

de ton lit, 

quand j'oublie 

jusqu'à notre amour... 

Lourds, 

soudain semblent lourds, 

tes bras qui m'entourent, 

He is Oblivion 

Never existed faith and not, 

brutal faith. 

To forget forever. 

He is Oblivion 

law of ingratitude, 

astral wizard. 

Cristal 

Lyrics by: Jose Maria Contursi 

Tengo el corazón hecho pedazos, 

rota mi emoción en este día... 

Noches y más noches sin descanso, 

y esta desazón del alma mía... 

Cuántos... cuántos años han pasado, 

grises mis cabellos y mi vida; 

loco... casi muerto... destrozado, 

con mi espíritu amarrado 

a nuestra juventud. 

My heart is in pieces, 

broken are my emotions this day… 

Nights and more nights without repose 

and this restlessness in my soul… 

How many, how many years have passed, 

grey are my hair and my life! 

Crazy …almost dead…destroyed, 

with my spirit clinging 

to our youth. 

24 

25

Más frágil que el cristal fue mi amor 

junto a ti... 

Cristal tu corazón... tu mirar... tu reír. 

Tus sueños y mi voz 

y nuestra timidez 

temblando suavemente en tu balcón... 

Y ahora sólo se 

que todo se perdió 

la tarde de mi ausencia. 

Ya nunca volveré, lo se bien, 

¡nunca más! 

Tal vez me esperarás junto a Dios, 

¡más allá! 

Todo para mi se ha terminado. 

Todo para mi se torna olvido. 

Trágica enseñanza me dejaron 

esas horas negras que he vivido. 

Cuántos... cuántos años han pasado, 

grises mis cabellos y mi vida, 

solo, siempre solo y olvidado, 

¡con mi espíritu amarrado a nuestra 

juventud! 

More fragile than the crystal was our 

love… 

Crystal was your heart, your gaze, your 

laugh… 

Your dreams and my voice 

and our timidity 

trembling gently in your balcony… 

And now I only know 

that everything was lost 

the evening of my absence. 

Now I will never return, I know it well. 

Never again! 

Perhaps you will wait for me, in God’s 

company. In eternity! 

Everything has finished for me, 

everything for me transforms into 

oblivion. 

Tragic experiences have left for me 

those black hours that I have lived! 

How many, how many years have 

passed, 

grey are my hair and my life! 

Lonely, always lonely and forgotten. 

With my spirit clinging to our youth…. 

Sin embargo, 

yo siempre te recuerdo 

con el cariño santo 

que tuve para ti. 

Y estas en todas partes 

pedazo de mi vida, 

y aquellos ojos que fueron mi alegria 

los busco por todas partes 

y no los puedo hallar. 

Al cotorro abandonado 

ya ni el sol de la mañana 

asoma por la ventana 

como cuando estabas vos, 

y aquel perrito compañero 

que por tu ausencia no comia, 

al verme solo el otro dia tambien me 

dejo. 

Nevertheless, 

I always remember you 

with the holy love 

that I had for you. 

And you are everywhere, 

piece of my life, 

and those eyes that were my happiness 

I search for them everywhere 

and I can't find them. 

To the abandoned bedroom 

now not even the morning sun 

shows through the window 

the way as when you were there, 

and that little dog [our] partner 

that because of your absence would not eat 

on seeing me alone the other day also left 

me. 

La Cumparsita 

Lyrics by Enrique P. Maroni 

and Pascual Contursi 

Si supieras, 

que aun dentro de mi alma, 

conservo aquel cariño 

que tuve para ti... 

Quien sabe si supieras 

que nunca te he olvidado, 

volviendo a tu pasado 

te acordaras de mi... 

If you knew, 

that still within my soul, 

I keep the love 

I had for you... 

Who knows, if you knew 

that I never forgot you, 

returning to your past, 

you would remember me... 

Los amigos ya no vienen 

ni siquiera a visitarme, 

nadie quiere consolarme 

en mi afliccion... 

Desde el dia que te fuiste 

siento angustias en mi pecho, 

deci, percanta, que has hecho 

de mi pobre corazon 

The friends do not come 

not even to visit me, 

nobody wants to console me. 

in my affliction... 

Since the day you left 

I feel anguish in my chest, 

tell me, woman, what have you done 

with my poor heart 

26 

27

PROGRAM NOTES 

Tango (1921) 

As with many composers possessed of improvisational facility at the piano, 

Albéniz composed quickly and prolifically, aided by reliance on Spanish idioms and 

rhythmic fillips, though at the cost of a certain thinness. Godowsky 

composed his transcription of the Tango in Chicago on July 12, 1921 – between 

Triakontameron and the Java Suite -- and saw it published that September to 

become, with Alt-Wien (from Triakontameron), one of his most popular pieces. 

Godowsky’s recasting of the Tango is so compact of felicities –for both pianists 

and composers -- that it could furnish material for entire courses in piano 

pedagogy and composition. 

– Adrian Corleonis, Rovi 

El Choclo (1903) 

“El Choclo” (Spanish: meaning “The Ear of Corn” more accurately “The Corn 

Cob”) is a popular song written by Ángel Villoldo, an Argentine musician. 

Allegedly written in honour of and taking its title from the nickname of the proprietor 

of a nightclub, who was known as El Choclo. It is probably one of the most 

popular tangos in Argentina. The piece was premiered in Buenos Aires, Argentina 

in 1903 – the date appears on a program of the venue – at the elegant restaurant 

“El Americano” on 966 Cangallo Street (today Teniente General Perón) by the 

orchestra led by Jose Luis Roncallo. El Choclo has been recorded (without vocals) 

by many dance orchestras, especially in Argentina. 

Jalousie (1925) 

In his career Gade composed country music, polkas and similar rhythms. With a 

scarce capital he left hurrying up his fate. He dreamed of being an orchestra 

conductor, and of writing waltzes, by then he was convinced that it was the best 

music in the world. He had a hard time, at night, he used to sleep at the entrance 

of buildings, at the hall near the stairs. 

A prolific composer, in 1900, for the first time a “toast” song of his was published 

titled “Der er sollys i modne druer” (The sunshine on the ripe grapes), with lyrics 

by his finder, Lorry Feilberg. It turned out a very popular song and, among others, 

it was sung by Elna From, a theater actress ten years older than he, who was his 

first love. Despite they never married, with her he had 3 children. They separated 

in 1906 and two years later, in Christiania, then capital of Norway, he married 

another actress: Mimi Mikkelsen, with whom he lived until she died in 1951. 

He was on leave in Christiania, near a windmill far from the city, when he read on 

a paper that a man had murdered his wife because of jealousy. His “tzigane tango” 

Jalousie was a worldwide hit. Performed for the first time on Monday, September 

14, 1925, on the premiere of the American movie “Don Q. Son of Zorro”, starring 

Douglas Fairbanks and Mary Astor, it placed Denmark in the world map of music. 

His royalties as composer were so ample that in the 70s it was estimated that the 

song was played, at least, once every minute on some radio of the planet. 

After Jalousie he devoted solely to musical composition, retired and based in a 

country house. There, among others, were born Rhapsodietta and another tango 

Romanesca which were published in Copenhagen and in Paris. He returned to the 

United States of America in 1939 where they offered to publish his whole output. 

Jalousie was born as an instrumental, but later in every country a lyric was written, 

according to their taste and commercial preference. This is the case of the 

above mentioned Vera Bloom for the previously cited Frankie Laine. In Finland a 

lyric written by Kuliervo is known. In Great Britain, the then famous orchestra led 

by Gerald Bright presented his vocalist Monterrey (his true name was Montgomery) 

singing a lyric by E. Way and so appeared many others of the kind. 


Por Una Cabeza (1935) 

Composed in 1935 by the great French-born Argentinean tango composer, singer 

and actor, Carlos Gardel (1890-1935), Por Una Cabeza bemoans the composer’s 

lack of fortune, both in wagering on horses and love. This sensuous tango was 

featured in Gardel’s 1935 film, Tango Bar, released three months before his tragic 

and untimely death in a plane crash. Nearly a half-century later, Por Una Cabeza 

became famous by its performance in the 1992 Hollywood film, Scent of a 

Woman, which starred actor Al Pacino. 

In 1996, the composer John Williams (especially known for his Hollywood film 

scores), subsequently arranged Gardel’s tango for solo violin and symphony orchestra 

(and accordion) and conducted violinist Itzhak Perlman and the Pittsburgh 

Symphony Orchestra (and Doktorski) in a recording which was released on the 

Sony Classical label (Cinema Serenade SK 63005). Cinema Serenade was a big hit 

and reached number one on the Billboard crossover chart. 

El Día que me Quieras (1935) 

El Día que me Quieras (The day that you love me) is a song composed by Carlos 

Gardel, an Argentinian singer-musician, with text by Alfredo Le Pera. It became a 

heavily recorded tango standard, even by artists outside of the realm of tango. 

He returned to his country to conduct the orchestra of the Palads Cinema theater 

and to compose and arrange music to be played during the projection of movies. 

By that time he composed Jalousie. They say that its title had inspired the melody. 

28 

29

Malena (1942) 

Malena tells the story of a man listening to a woman sing the tango. He is touched by 

the intense feeling he hears in her voice, and he imagines that she must have suffered 

deeply to have such a voice. He recognizes the beauty in her pain. As he describes 

how the broken woman sings her sorrow he creates an image destined to become one 

of the most famous romantic tango icons: Malena - the beautiful, destroyed woman 

singing the pain of the tango. 

Tango: Del Amor Imprevisto (2011) 

As an Anglo-Canadian composer writing a tango, I’m skating on thin ice. How 

can my stolid northern soul find its way into the very particular language, singing, 

rhythm, and soul of this dance This tango is an imaginary journey, with me 

clutching my own peculiar musical baggage, and Federico García Lorca my 

guide. His incandescent ghazal lends both spark and structure, leading me 

through the dance. 

Tango: Del Amor Imprevisto was commissioned by Soundstreams (Lawrence Cherney, 

Artistic Director) for the Argentinian singer Roxana Fontán. 

– James Rolfe, 2011 

Adiós Nonino (1959) 

In 1999 there will be celebrated forty years of the creation of Adiós Nonino, 

Astor Piazzolla’s most representative work. Composed in 1959, moved by his 

father´s death, don Vicente Piazzolla, who was called Nonino. It would become 

a classic. Its author, of a prolific oeuvre as composer, has compositions more 

important and of higher value, but Adiós Nonino is and will be, forever, a synonym 

of Piazzolla. Just arrived from New York, returning from that tour, at a time of eep 

sadness, of financial difficulties –due to his trip to the North which had resulted a 

failure, as a failure also was his intent to impose jazz-tango on the public-, now his 

father’s death was added, far away, in Argentina. Then he wrote Adiós Nonino. 

Under the pressure of such a frame of mind the immortal notes spontaneously 

sprouted. He re-composed the early “Nonino”, a tango he had composed in París 

in 1954 (there is a recording of that work by José Basso’s orchestra, in July 1962), 

of which he kept the rhythmic part. He re-arranged the rest and added that long 

melodic fragment, with long and touching notes, where a deep, choked and 

anguished lament underlies. 

The restrained weeping and the pain of a son, at such a distance, was expressed in 

this sad and distressed passage. In these two phrases of eight bars (four plus four), 

which are repeated forming a precious section of sixteen bars, is the authentic sense 

and justification of the piece. 

Published in Tango and Lunfardo #148, Year XVII, Chivilcoy, January 16, 1999. 


30 

Escualo (1979) 

Piazzolla’s Escualo (The Shark) was originally recorded in 1979 in Buenos Aires by 

the “Quinteto Piazzolla”, a quintet comprised of bandoneon, violin, guitar, piano, 

and bass. This arrangement was to become the basis for most of Piazzolla’s work 

during the 1980s. At this time Piazzolla’s reputation grew steadily, making him a 

prime candidate for exposure in the U.S. during the world-music craze of the latter 

half of the '80s. The music of Escualo moves along halting, pulsing rhythms over 

which the violin has an exotic solo part. 

Milonga En Re (1970) 

Despite its many meanings ‘tango’ primarily designates the most popular Argentine 

urban dance of the 20th century: it is one of the most expressive and nationalistic 

symbols of the Argentine character. The tango is said to have developed in the 

arrabal or orillas (poor slum areas) on the outskirts of Buenos Aires. The arrabal 

suburban culture consisted of elements introduced after 1870 by millions of 

frustrated European immigrants, and aspects of urbanized pampa (or gaucho) 

traditions. Gaucho musical traditions were especially represented by the payada 

and the milonga. The improvised song texts of the payada often referred to current 

events, and frequently voiced social protest. The milonga, a dance of alleged African 

origin in duple metre and syncopated rhythm, contributed to the rhythmic structure 

of the tango. Most tango scholars, however, interpret the dance as being at first 

an adaptation of the Andalusian tango, and the Cuban DANZÓN and habanera. 

Until about 1915 the tango maintained the duple metre (2/4) of the habanera and 

milonga, after which 4/4 or 4/8 became more frequent; after 1955 new rhythmic 

complexities developed. Three types of tango may be distinguished: the 

tango-milonga, the tango-romanza and the tango-canción. The tango-milonga is 

strictly instrumental (for popular orchestras) and has a strong rhythmic character; 

the most ‘classic’ example is the tango Boedo (1928) by Julio De Caro (although it 

originally included lyrics by Dante Linyera, these were rarely used in performance). 

Tango Melancólico (2011) 

My passion for tango music developed while I was a music student in Germany. 

One early morning, the radio alarm clock came on, and like a dream, I heard a 

haunting melody played on an exotic instrument that I had never heard before. It 

was Astor Piazzolla, playing his sublime Oblivion on the bandoneon. This was a 

rather melancholic introduction to a genre of music which is characterized by fiery 

accentuated rhythms, with melodies and texts that symbolize conflict: conflict with 

one’s self, and conflict with a partner or a lover. 

Tango Melancólico is my depiction of such a conflict between a woman (the violin) 

and a man (the piano), a conflict so volatile, that the dance is transformed from the 

traditional man-leads-woman to a new synthesis of passion where both individuals 

are creating the dance in fluid response to the sensuous ebb and flow of the music, 

and both man and woman lead and follow as the creative process unfolds. In the end, 

the conflict winds down but never resolves. 

– Serouj Kradjian 

31

Tango for Piano, 1940 

Music for solo piano featured less prominently in later years and apart from 

Stravinsky Tango and Circus Polka the instrument appears only within a number 

of orchestral works. Not long after leaving for the United States in September 

1939 Stravinsky settled in California where, in 1940, he wrote his entertaining 

Tango. Conceived originally as a song, its halting rhythms and evocative mood 

convey something of the nostalgia that the composer must have experienced in 

his newly adopted country. 

Source: http://www.classicsonline.com 

Levante (2004) 

A virtuoso fantasy on a chorus from Golijov's pathbreaking St. Mark Passion Levante 

— the title comes from a kind of wind from the East — was written for the 

pianist Veronica Jochum, who gave the world premiere during her New England 

Conservatory faculty recital Sunday night. Worked out with the help of pianist Octavio 

Brunetti, Golijov’s piece is a workout, rhythmically complex and charged with 

energy and color. 

– Richard Dyer, Boston Globe 

Serbian Tango (2011) 

Serbian Tango is the product of one of the many fantastic Lawrence Cherney’s 

ideas. The piece is inspired by tango, jazz and a Serbian traditional dance called 

“kolo”, but more than everything else it is an invitation to dance. Enjoy it! 

– Anna Sokalovic, 2011 

Milonga del Angel (1993) 

Astor Piazzolla’s Milonga del angel is a track that is adored by many. Astor 

Piazzolla named this song after the title of his 1993 album which carries the same 

title. The Milonga is a type of music that immediately precedes the tango music and 

the tango dance. Therefore, many references to milonga often refers to a type of 

dance similar to the tango but is executed more softly than the original tango. 

To accompany this lighter form of dance, the Milonga often starts slow and 

sentimental to reflect how soft the feeling and emotions should be. The Milonga del 

angel was meant to attract a large American following. Therefore, Astor Piazzolla 

wanted to compose the music building upon the most recognizable aspects in music 

by many Americans. 

The album’s stealthy style is no different than the sensual music that is often 

produced by the famous Milonga. The Milonga del angel is just as complex as 

beautiful as the original Milonga. There are many elements that make up this 

beautiful arrangement. Some of these elements that invoke the emotions sought 

out by the composer includes: strummed bass chords, violin lines, piano chords, 

a bandoneon and an electric bass. With all of the elements working harmoniously 

32 

together, there are times where it may seem as if the listener is in a small Jazz pub. 

Astor Piazzolla purposely composed the music to invoke this exact feeling. Not only 

did Piazzolla record this music to reflect hints of Jazz, he loved Jazz so much that 

the entire record had small underlining hints of Jazz. 

In addition to producing a surprise at every corner, this album leaves the listener 

wanting more and expecting the unexpected. It also forces the listener to pay attention 

to the charming story his music tells. The music seems to take a life on its own 

and floats the listener away to a fantasy place which no one has ever seen before. 

There is no wonder why Astor Piazzolla’s Milonga del angel was dubbed the best 

recording he has ever done in his entire life by the large following of Astor Piazzolla 

and the late Astor Piazzolla himself. After his death, this record shortly became 

one of the most recognized and top selling Nuevo Tango albums ever made. 

Source: http://www.astor-piazzolla.org 

Fuga y Misterio (1968) 

Composed by Astor Piazzolla arranged by Albert Gonzales   

The Fuga y Misterio is drawn from Piazzolla’s nuevo tango chamber opera from 

1968, María de Buenos Aires. The opera has a surreal scenario and features a 

goblin character, marionettes and a black mass. The first half of the work takes 

place on the streets of Buenos Aires where Maria, the main character, works as a 

prostitute. She has died by the second half of the opera, but still haunts the streets 

of Buenos Aires as a shadow. 

The Fuga y Misterio provides the music for the fifth scene in María de Buenos 

Aires. Many arrangements exist of this piece, from a two-piano version to one 

that features the bandoneón. The arrangement you hear, by Albert Gonzales, is for 

chamber orchestra. The Fuga (or “fugue”) begins with an excited solo line that is 

imitated by other instruments. The counterpoint is as clean and comprehensible as 

any fugue by Bach; but this is Piazzolla, and the strings soon transform the fugue 

into a tango that retains elements of the original theme. The music changes again, 

this time for the slower Misterio section. The mystery only lasts for a short time, 

though, before the irrepressible tango again bursts forth. A jazzier style is discernible 

here, especially in the solo part, but the tango still dominates. The energetic 

music positively dances and drives the piece to a breathless close. 

Source: http://content.thespco.org/ 

Oblivión (1984) 

Piazzolla included Oblivión in his soundtrack score composed for Marco Bellocchio’s 

1984 film, Enrico IV (“Henry IV”), and it is one of Piazzolla’s more 

traditional (i.e., less jazzy and/or Bartókian) tangos, and one which has become 

among his most frequently performed and recorded pieces, in varying instrumental 

arrangements. 

Source: http://sites.google.com/site/edwardlein/Home/program-notes/astor-piazzolla La voz de Bue 

33

La Cumparsita (1924) 

Gerardo Hernan Matos Rodriguez composed La Cumparsita around in 1915 when 

was only 17 years old, for a carnival band. After he wrote the score, Rodriguez either 

did not have the determination, or perhaps the means, to play it himself. At the same 

time, Rodriguez was frequenting a trendy cafe called Confitería La Giralda. It was 

here that he met one of the principle figures in tango, the very masterful Roberto 

Firpo, Rodriguez took his score to Firpo. Firpo's expert eye was aware at first glance 

of what he was examining, and that he immediately secured the authorization to 

adapt it and to arrange it. Hence Rodriguez sold the score and copyright of a tango 

he had written - a masterpiece the public would adore for evermore - for the paltry 

sum of only 20 pesos! Money was exchanged quickly, the score was received, and the 

Breyer publishing house herein owned the piece. And so a legend was born. 

Roberto Firpo was the first release and record the La Cumparsita tango in 1916. 

In its first incarnation, La Cumparsita was not successful and in fact was only 

recorded as a B-side song. In 1924 Enrique Maroni and Pascual Contursi revised 

score became extremely successful not only in Buenos Aires, where it was played at 

almost every venue and re-recorded and broadcast, but also when Francisco Canaro 

took it to Paris, where it became the in-thing to dance to. It was only a matter of 

time, then, till it spread to the rest of the world. 

Cristal (1944) 

Mariano Mores wrote several tangos with lyrics by Jose Maria Contursi. The first 

song they wrote together was “En esta tarde gris”. Later they created one tango 

per year: Gricel, Cada vez que me recuerdes, Cristal, Tu piel de jazmín. 

Cristal is a song that is not heard very often in milonga because of its sad theme. 

It has been said that Contursi's lyrics pored straight out of his broken heart and the 

lyrics for Cristal were most likely inspired by Contursi’ long time troubled love affair 

with Susana Gricel Viganó. 

José María Contursi provided the abundant product of his inspiration to the demand 

of tango canción which took place for about two decades after the late 30s. The 

critical role of the singers in the orchestras urged a repertory designed for them and 

adjusted to the tastes of the age. 

Vocalists such as Alberto Marino, Juan Carlos Casas, Raúl Iriarte, Libertad 

Lamarque and Julio Sosa, among others leaned on Contursi´s lyrics to reach 

historical hits. 


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Soundstreams presents 

GET THE INSIDE SCOOP 

Curious to learn more about the music Soundstreams presents 

Salon 21 provides context through conversation with Canadian and international 

musicians and composers. 

New at the Opera 

January 30, 2012 

Opera singer Carla Huhtanen performs 

music by Finnish superstar Kaija Saariaho. 

Electronica 

February 29, 2012 

Brilliant turntable artist/composer 

Nicole Lizée demos her work. 

If you’re not sure what a turntable 

artist is, it’s a must! 

Do Jazz & Opera Mix 

March 6, 2012 

World renowned Hungarian composer/conductor 

Peter Eötvos speaks about his interest in jazz, 

and in opera, with live and recorded examples. 

Music Matters! 

April 16, 2012 

What inspires young composers to write 

What is this generation of composers 

writing about 

Meeting the Gismontis 

May 2, 2012 

The sounds of Brazilian music with sensational 

musicians from the Gismontis, Brazil’s first 

family of music. 

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WWW.SOUNDSTREAMS.CA 

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39

NOTES 

“…pretty well irresistible” – Gramaphone 

SOUNDSTREAMS 11/12 CONCERT SERIES 

SEALED ANGEL 

CHOREOGRAPHED BY LARS SCHEIBNER; FEATURING PROARTEDANZA, 

ELMER ISELER SINGERS & AMADEUS CHOIR, CONDUCTED BY LYDIA ADAMS 

A profoundly moving choral opera integrating integrates 70 voices, 

5 dancers, 2 boy sopranos and solo flute 

Thursday, February 2 & Friday February 3, 2012 at 8pm // Pre-concert chat at 7pm 

Koerner Hall in the TELUS Centre for Performance and Learning, 273 Bloor Street West 

Single tickets starting at $47 // Under 35 & Artists $28 

For tickets call 416.408.0208 or visit www.rcmusic.ca 

40 

WWW.SOUNDSTREAMS.CA 

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NOTES 

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