A 45 RPM or EP sleeve should have no more than the most minor defects, such as any sign of slight handling.
An LP cover should have no creases, folds, seam splits, cut-out holes, or other noticeable similar defects. The same should be true of any other inserts, such as posters, lyric sleeves, etc. A Very Good Plus record will show some signs that it was played and otherwise handled by a previous owner who took good care of it. Defects should be more of a cosmetic nature, not affecting the actual playback as a whole. Record surfaces may show some signs of wear and may have slight scuffs or very light scratches that don't affect one's listening experiences.
Slight warps that do not affect the sound are "OK". The label may have some ring wear or discoloration, but it should be barely noticeable. Spindle marks may be present. Picture sleeves and inner sleeves will have some slight wear, slightly turned-up corners, or a slight seam split. An LP cover may have slight signs of wear, and may be marred by a cut-out hole, indentation, or cut corner. In general, if not for a couple of minor things wrong with it, this would be Near Mint. Surface noise will be evident upon playing, especially in soft passages and during a song's intro and fade, but will not overpower the music otherwise.
Groove wear will start to be noticeable, as with light scratches deep enough to feel with a fingernail that will affect the sound. Labels may be marred by writing, or have tape or stickers or their residue attached. The same will be true of picture sleeves or LP covers. However, it will not have all of these problems at the same time. The album includes the composition Aire de Buenos Aires by Mulligan. At this time Piazzolla started a collaboration with the singer Jose A. Trelles with whom he made a number of recordings.
In he formed his second Quintet, with which he would tour the world for 11 years, and would make him world-renowned. He also returned to writing chamber music and symphonic works. During the period of Argentine military dictatorship from to , 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, as recounted in Astor Piazzolla, A manera de memorias a comprehensive collection of interviews, constituting a memoir : .
In his family received the Konex Award , as the most important musician of the decade in Argentina. That same year he wrote Le Grand Tango for cello and piano, dedicated to Russian cellist, Mstislav Rostropovich which would be premiered by him in in New Orleans. At the end of that same year he performed in West-Berlin , and in theater Vredenburg in Utrecht , in the Netherlands, where VPRO -TV-director Theo Uittenbogaard recorded his Quinteto Tango Nuevo, playing, among other pieces, a very moving Adios Nonino , with as a backdrop — to Piazzolla's great pleasure — the extremely zoomed-in "live"' projection of his bandoneon playing.
With the film score for El exilio de Gardel he won the French critics Cesar Award in Paris for best film music in In he wrote music for the film Sur and married the singer and television personality Laura Escalada on April In May that year he recorded his album La Camorra in New York, a suite of three pieces, the last time he would record with the second Quinteto.
During a tour of Japan with Milva he played at a concert at the Nakano Sun Plaza Hall in Tokyo on June 26, and that same year underwent a quadruple by-pass operation. Early in he formed his Sexteto Nuevo Tango , his last ensemble, with two bandoneons, piano, electric guitar, bass and cello. Together they gave a concert at the Club Italiano in Buenos Aires in April, a recording of which was issued under the title of Tres minutos con la realidad.
This would be Piazzolla's last concert in Argentina. This would be his last studio recording and was his second composition for the Kronos Quartet. Towards the end of the year he dissolved his sexteto and continued playing solo with classical string quartets and symphonic orchestras. His composition, Le grand tango , for cello and piano was premiered in New Orleans by the Russian cellist Mstislav Rostropovich and the pianist Igor Uriash in and on July 3 he gave his last concert in Athens , Greece , with the Athens Orchestra of Colours, conducted by Manos Hatzidakis.
He suffered a cerebral hemorrhage in Paris on August 4, , which left him in a coma, and died in Buenos Aires, just under two years later on July 4, , without regaining consciousness. 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.
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. The piano tends to be used throughout as a percussive rhythmic backbone, while the electric guitar either joins in this role or spins filigree improvisations; the double bass parts are usually of little interest, but provide an indispensable rugged thickness to the sound of the ensemble.
The quintet of bandoneon, violin, piano, electric guitar and double bass was Piazzolla's preferred setup on two extended occasions during his career, and most critics consider it to be the most successful instrumentation for his works. With a style that is both rugged and intricate, such a setup augments the compositions' inherent characteristics. Despite the prevalence of the quintet formation and the ABABC compositional structure, Piazzolla consistently experimented with other musical forms and instrumental combinations.
In an album was released containing collaborations between Piazzolla and Jorge Luis Borges where Borges's poetry was narrated over very avant-garde music by Piazzolla including the use of dodecaphonic twelve-tone rows, free non-melodic improvisation on all instruments, and modal harmonies and scales.
By the s Piazzolla was living in Rome, managed by the Italian agent Aldo Pagani , and exploring a leaner, more fluid musical style drawing on more jazz influence, and with simpler, more continuous forms. In the s Piazzolla was wealthy enough, for the first time, to become relatively autonomous artistically, and wrote some of his most ambitious multi-movement works.
These included Tango Suite for the virtuoso guitar duo Sergio and Odair Assad ; Histoire du Tango , where a flutist and guitarist tell the history of tango in four chunks of music styled at thirty-year intervals; and La Camorra , a suite in three ten-minute movements, inspired by the Neapolitan crime family and exploring symphonic concepts of large-scale form, thematic development, contrasts of texture and massive accumulations of ensemble sound.
After making three albums in New York with the second quintet and producer Kip Hanrahan , two of which he described on separate occasions as "the greatest thing I've done", he disbanded the quintet, formed a sextet with an extra bandoneon, cello, bass, electric guitar, and piano, and wrote music for this ensemble that was even more adventurous harmonically and structurally than any of his previous works Preludio y Fuga; Sex-tet.
Had he not suffered an incapacitating stroke on the way to Notre Dame mass in , it is likely that he would have continued to use his popularity as a performer of his own works to experiment in relative safety with even more audacious musical techniques, while possibly responding to the surging popularity of non-Western musics by finding ways to incorporate new styles into his own.
In his musical professionalism and open-minded attitude to existing styles he held the mindset of an 18th-century composing performer such as Handel or Mozart, who were anxious to assimilate all national "flavors" of their day into their own compositions, and who always wrote with both first-hand performing experience and a sense of direct social relationship with their audiences. This may have resulted in a backlash amongst conservative tango aficionados in Argentina, but in the rest of the West it was the key to his extremely sympathetic reception among classical and jazz musicians, both seeing some of the best aspects of their musical practices reflected in his work.
As well as providing original compositions and arrangements, he was the director and bandoneon player in all of them. Biographers estimate that Piazzolla wrote around 3, pieces and recorded around In the summer of he performed at the Almeida Theatre in London for a week-long engagement.
On September 6, , his quintet gave a concert in New York's Central Park , which was recorded and, in , released in compact disk format as The Central Park Concert. From Wikipedia, the free encyclopedia.
Redirected from Resurreccion Del Angel. Argentine tango composer, bandoneon player and arranger. Orquesta de Cuerdas in English: String Orchestra , — Jazz Tango Quintet , Quinteto in English: Quintet , a. Nuevo Octeto in English: New Octet , Conjunto 9 in English: Ensemble 9 , a. Conjunto Electronico in English: Electronic Ensemble , a. Electronic Octet, Con los mismos colores , El Cielo en las manos , Stella Maris , Los tallos amargos , Marta Ferrari , Historia de una carta , Violencia en la ciudad , Dos basuras , Las furias , El fin del mundo , Paula Cautiva , Con gusto a rabia , Las locas del conventillo , Crimen sin olvido , La fiaca , Breve cielo , Con alma y vida , Viaje de bodas , Lumiere , Cadaveri eccelenti , Il pleut sur Santiago , A Intrusa , El infierno tan temido , Volver ,Canta Jose Angel Trelles, Astor Piazzolla - Piazzolla: Balada Para Un Loco - napotpickratmures.alsupvestraclimodukbestlicenttacta.co Music.