The first idea that came to mind when we decided to record this album – this happened during one of those wonderful moments we shared while touring around last year – was to produce a music compilation whose common denominator would be the poetic quality of the melodies we would choose rather than the genre and language of the music.
We set off with these ideas in mind and as the project took shape we found ourselves collecting melodies which were indeed mixed on a stylistic level but definitely compatible in view of their in melodic eloquence.
Grouping together five main streams, the recorded material draws on the music of Astor Piazzolla – as a sign of continuity in our artistic experience – the classic Tango repertoire – music we have played for years without ever coming out with our own arrangements – our composition abilities – as an indication of our curiosity for the stylistic permeability we aim to – contemporary classical music and the Argentinean folk repertoire – again a token of the abovementioned curiosity.
In most of the recorded material, the listener will perceive how the spontaneous vibrant energy we are able to generate – a trait we are proud of – is often put into the background by a vein of poetic languor. From this point of view, we can say that that energy – something people who come to our concerts or listen to our recordings are very familiar with – has not dried up. On the contrary, the underlying desire was to let this energy convert into a form of emotional strength that would contain and absorb it at the same time.
The outcome is an overall polished product as far as tone-colour subtleties are concerned, whereas the tracks reveal a prism of emotional facets – from clearly intimistic to biting; from severely melancholic to generously cheerful.
Since poetry is the element that links together the tracks in this CD, we have decided to dedicate the entire work to a poet whose name appears in some of the titles to our recordings, Alfonsina Storni.
A woman, who can rightfully be counted among the women Ibsen would have had no hesitation to include in his gallery of rebel females, on account of the vitality she put in her poetic passion all through her life – especially in years when she paid a harsh price for it.
A woman, whose poetry originates from the pain of living, from the happenings and sufferings of a life which turned the mellow tones of the domestic intimacy of her early verses into the purple hues of intense, physical and intellectual, sensuality.
A woman, whose tormented heart was haunted by tragedy, who loved music and songs and experienced the illusions and disillusions of love to the extreme. This woman was run through by a kind of nostalgic grace similar to some extent to that displayed by the mysterious heroine of Tango, whom poet Homero Manzi called Malena.
The similarity is not irrelevant here, because Storni was very familiar with Tango. In one of her poems she gives us a vision of it in an autumnal image where the Puente Alsina bridge twists like a massive bandoneon, while people dance in tango rhythm among the barges on the Riachuelo river, leaving streaks of blood in the poisonous waters, twisting their obsessed tears (Danzon Porteno, 1938).
By amplifying the intensity of her existence, in an attempt to escape from solitude, Alfonsina Storni feverishly pursued a continuous renewal of style, as if pervaded by the longing for an unconquerable ‘elsewhere’ where wholeness could be reached.
This eager need for renewal is the element Tangoseis shares with this pasionaria. We believe, in fact, that letting ourselves be tempted by curiosity into forcing our artistic conquests is the way to avoid the risks of aesthetism and to penetrate the territory of artistic creation.
Today, in the post-modern era, this territory no longer bears the mystery of a virgin forest, where each step corresponds to a flash of inspiration. On the contrary, its extent is that of the global village, a place where to capture and mix together different suggestions to create original formulas.
This strategy of using quotations and affinities, a key to interpreting the stylistic unity of this CD, can also be found in Alfonsina’s poems, where the modernist echoes of Ruben Dario mix with and are softened up by the power of Storni’s genuine personality, by a certain decadent sensitivity and a technique which draws her close to Leopoldo Lugones and his proclaimed faith for a kind of poetry made of emotion and music.
Changing the order of factors, Tangoseis shares this very faith by conceiving music on the basis of poetry and emotion – and this CD is a definite sign of that.
De Federicis Mauro
- Double bass
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