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艺术家：加德尔二重奏
标题：皮亚佐拉、加德尔：激情探戈
发行年份：2025
厂牌：达芬奇古典
风格：古典音乐
音质：无损FLAC（音轨）
总时长：1小时04分49秒
总大小：315兆字节
官网：专辑预览
曲目列表
01. 三人米隆加
02. 沉思探戈
03. 狂暴探戈
04. 她闭上了双眼
05. 归来
06. 遗忘
07. 当你爱我的那一天
08. 一步之遥
09. 布宜诺斯艾利斯的四季：第一首，布宜诺斯艾利斯的秋天
10. 布宜诺斯艾利斯的四季：第二首，布宜诺斯艾利斯的冬天
11. 布宜诺斯艾利斯的四季：第三首，布宜诺斯艾利斯的春天
12. 布宜诺斯艾利斯的四季：第四首，布宜诺斯艾利斯的夏天
13. 自由探戈
这张达芬奇古典专辑所讲述的是一个关于移民、家庭、音乐、友谊，当然还有探戈的故事。除了两位演奏艺术家之外，还有两位公认的主角，即卡洛斯·加德尔和阿斯托尔·皮亚佐拉，他们分别被公认为二十世纪上半叶和下半叶最伟大的探戈音乐作曲家。这两位音乐家不仅因才华和探戈联系在一起，还因他们短暂的合作以及彼此始终展现出的尊重而相连。
其中年长的是卡洛斯·加德尔。他于1890年12月11日出生在法国图卢兹市。他的原名是夏尔·罗穆亚尔德·加尔德斯；加尔德斯是他母亲的姓氏。25岁的年轻女子贝尔特与一个已婚男人怀上了夏尔，而这个男人并不认这个孩子。贝尔特是一名普通的洗衣妇，为了给自己和孩子谱写一个全新的、不同的未来，她很快不得不离开自己的城市，后来又离开祖国和欧洲。孩子大约两岁半时，他们最终抵达布宜诺斯艾利斯。贝尔特谎称自己是寡妇，以获得这个小家庭应有的社会尊重。贝尔特辛勤工作养家时，夏尔在城市的街头长大；他的第一语言是西班牙语，其他孩子会叫他“小法国男孩”。
他很早就辍学了，因为很明显他最大的天赋在音乐领域。特别是，他拥有一副极好的嗓音，兼具男中音和男高音特质，外表也很有前途，尽管他不得不长期节食以减掉大量体重。
他的歌唱生涯从酒吧、俱乐部和沙龙起步，但很快就在更大的场馆受到赏识，成为一名非常成功的唱片艺术家和备受崇拜的电影演员。在作为表演者开展多方面活动的同时，加德尔（那时他已将名字从夏尔改为卡洛斯，姓氏从加尔德斯改为加德尔）也成为了一位备受赞赏的作曲家。尤其是，他很快发现自己的音乐真正能大放异彩的领域是探戈音乐。
而探戈音乐正是连接他和年轻同事阿斯托尔·皮亚佐拉的纽带。
皮亚佐拉比加德尔晚出生31年，也就是晚了一代人。虽然阿斯托尔出生在阿根廷，但他也来自一个欧洲家庭；就他而言，他的父母和祖父母都是意大利人，分别来自意大利中部（他母亲的家族）和南部。
但就像加德尔蹒跚学步时离开欧洲一样，皮亚佐拉也只在阿根廷度过了生命的最初三四年，之后的岁月里多次回到欧洲。1925年，他的家人搬到纽约，在格林威治村定居。在那里，这个孩子很快接触到了各种音乐形式：二十年代爵士乐的萌芽文化，还有阿根廷的传统音乐遗产，以及他父亲收藏的唱片中的西方古典音乐。皮亚佐拉的第一件乐器也是从父亲那里得到的，是一架班多钮手风琴（一种类似手风琴的乐器），这个男孩通过观察和研究父亲如何演奏自己的乐器，自然而然地学会了弹奏。
很快就可以看出阿斯托尔在音乐方面有特殊的天赋，他跟随一些重要的音乐家学习音乐——学习方式总是非正式的，但却非常扎实。一位曾师从传奇人物谢尔盖·拉赫玛尼诺夫的匈牙利钢琴家贝拉·威尔达教他演奏技巧。正是在三十年代中期，加德尔和皮亚佐拉相遇了。加德尔邀请皮亚佐拉与他广泛合作；他们的合作延伸到加德尔最著名的电影之一《当你爱我的那一天》，年轻的皮亚佐拉在片中客串了一个报童。这部电影中的歌曲包括许多加德尔最成功的作品，比如电影同名歌曲《当你爱我的那一天》，由加德尔与罗西塔·莫雷诺合唱；《她闭上了双眼》和《归来》。这三首都是探戈（而电影中的其他歌曲是乡村歌曲、华尔兹或伦巴）。这三首歌也都出现在我们即将聆听的这张专辑中。
两位音乐家之间似乎注定会发展出深厚的友谊与合作，年长的加德尔邀请年轻的皮亚佐拉陪他进行巡回音乐会。不难想象，十几岁的皮亚佐拉对这个前景感到非常兴奋；也很容易想象，当他的父亲（后来因著名探戈《再见，爸爸》而不朽）以他还太年轻为由禁止他接受加德尔的邀请时，他是多么失望。但这个看似严厉的禁令却让皮亚佐拉一生都感激父亲。加德尔和他的伴奏音乐家们恰恰就在那次行程中，在一场两架飞机相撞的事故中不幸英年早逝。
这个年轻人的职业生涯开始发展；然而，皮亚佐拉非常明智地能够同时追求他崭露头角的职业生涯和学业。他的一些老师是他那个时代最伟大的音乐家；此外，皮亚佐拉热切地研究那些无法直接教他的音乐家的作品（其中，仅举两例，伊戈尔·斯特拉文斯基和莫里斯·拉威尔）。而且，他的注意力始终在古典音乐（包括“现代古典”音乐）、爵士乐和阿根廷传统音乐之间分配。他的导师包括作曲家兼钢琴家阿尔韦托·吉纳斯特拉，他的教学是阿瑟·鲁宾斯坦向皮亚佐拉推荐的。
事实证明，这种背景是皮亚佐拉最具独创性的特质，但也是最具争议性的特质；虽然他的新探戈真正出现是在几年后，但他早期的音乐创新实验已经让许多迄今为止与他合作过的音乐家感到担忧。很明显，皮亚佐拉如果想更深入地挖掘与传统探戈相关但又与之不同的新音乐风格的潜力，就必须管理一个自己的管弦乐队或合奏团。特别是，就像巴赫（和其他人）将巴洛克组曲中程式化的舞蹈从实际舞蹈中解放出来，把它们变成“供聆听”的作品一样，皮亚佐拉也尝试（并成功地）将探戈从作为舞蹈背景的地位中解放出来，把它变成一种音乐会体裁。
然而，这条道路非常漫长。虽然皮亚佐拉在1946年就组建了自己的第一支管弦乐队，但四年后他面临了一场严重的危机。管弦乐队解散了，这位音乐家一度想完全放弃探戈音乐 genre。他越来越被爵士乐吸引，五十年代初的作品极具实验性。为了进一步丰富自己的音乐经历，他勇敢地迈出了重要一步：跨越大西洋，去跟随传奇作曲家娜迪亚·布朗热学习。皮亚佐拉对她心怀敬畏，担心自己的阿根廷背景会影响自己作为作曲家的“严肃性”，于是先向她展示了自己最前卫的作品。然而，直到他最终向老师展示自己的探戈作品时，她才真正被他的才华所吸引，并对他表现出热情。她帮助他完善和打磨西方古典传统中的作曲风格，但同时也鼓励他在古典音乐和探戈音乐的融合中走出自己独特的道路。
从那一刻起，皮亚佐拉的生活和事业彻底改变。他组建了一系列不同编制的合奏团；其中最成功的可能是五重奏。在这些合奏团中，各种来源的乐器都能找到自己的位置。他让古典传统乐器、爵士乐领域的乐器，以及电子音乐甚至摇滚音乐新世界的乐器加入，这让探戈纯粹主义者感到震惊。不得不说，古典音乐纯粹主义者中也引发了类似的哗然，他们同样对班多钮手风琴和探戈音乐出现在古典音乐的殿堂感到愤怒。
尽管如此，皮亚佐拉很快在二十世纪音乐界确立了自己作为极具创新精神的声音的地位。他在大西洋两岸生活（也因祖国的政治局势），并在全球范围内获得声誉。有一个国家对他特别热情——可能也因为皮亚佐拉的根在那里——那就是意大利，皮亚佐拉在那里与一些当时最重要的音乐家（包括米娜、米尔娃或图利奥·德皮斯科波）合作，并创作和录制了《自由探戈》。
这首探戈是他最著名的作品之一，也成为众多电影中的亮点，并被无数艺术家重新混音或演绎。然而，除此之外，皮亚佐拉创作了大约3000部作品，其中六分之一由他自己录制。
他一些最富盛名的合作包括与阿根廷最伟大的作家豪尔赫·路易斯·博尔赫斯，以及伟大的大提琴家姆斯季斯拉夫·罗斯特罗波维奇的合作；皮亚佐拉还写了一部歌剧《布宜诺斯艾利斯的玛丽亚》，并不断借鉴过去的音乐传统。这里录制的《布宜诺斯艾利斯的四季》是对意大利巴洛克作曲家安东尼奥·维瓦尔第的明确致敬，但他的作品中也不断提及音乐史上的其他音乐家。
因此，这里录制的作品构成了一种探戈史，借用了皮亚佐拉的一部著名作品的标题。这是一部由加德尔和皮亚佐拉等天才音乐家书写的历史，但也是一部包含了无名音乐家谦逊而质朴贡献的历史。加德尔和皮亚佐拉都会很高兴承认这一点。
Artist: Duo Gardel
Title: Piazzolla, Gardel: Tango Apasionado
Year Of Release: 2025
Label: Da Vinci Classics
Genre: Classical
Quality: flac lossless (tracks)
Total Time: 01:04:49
Total Size: 315 mb
WebSite: Album Preview
Tracklist
01. Milonga for Three
02. Meditango
03. Violentango
04. Sus ojos se cerraron
05. Volver
06. Oblivion
07. El dia que me quieras
08. Por una cabeza
09. Las Cuatro Estaciones Porteñas: No. 1, Otoño Porteño
10. Las Cuatro Estaciones Porteñas: No. 2, Invierno Porteño
11. Las Cuatro Estaciones Porteñas: No. 3, Primavera Porteña
12. Las Cuatro Estaciones Porteñas: No. 4, Verano Porteño
13. Libertango
The story narrated in this Da Vinci Classics album is a story of immigration, of families, of music, of friendships, and, of course, of tango. Besides the two performing artists, there are two acknowledged protagonists, i.e. Carlos Gardel and Astor Piazzolla, who are rightly considered as the greatest composers of tango music in the first and second half of the twentieth century respectively. These two musicians are united not only by their talent and by tango, but also by their brief cooperation and the reciprocal esteem they always demonstrated.
The older of them was Carlos Gardel. He was born in France on December 11th, 1890, in the city of Toulouse. His original name was Charles Romuald Gardès; Gardès was his mother’s family name. Young Berthe, twenty-five, had conceived Charles with a married mano who did not recognize the child. Berthe, a simple laundress, had soon to leave her city, and later the country and Europe, in order to write a new, different future for herself and for her child. They eventually landed in Buenos Aires when the child was about two and a half years old. Berthe fashioned herself as a widow, in order to accrue the social respectability of the small household. While she worked intensely to support her child, Charles grew up in the streets of the city; his first language was to be Spanish, and the other children would call him “the little French boy”.
He left his formal schooling rather early, when it became clear that his greatest talents lay in the musical field. In particular, he had a sensational voice, as a baritone/tenor, and also very promising looks, even though he had to remain on a semi-permanent diet in order to lose a conspicuous part of his weight.
His singing career took off with bars, clubs, and salons, but soon he began to be appreciated in larger halls, becoming a very successful recording artist and an idolized movie actor. In parallel with his multifaced activity as a performer, Gardel (who by then had changed his first name from Charles to Carlos, and his family name from Gardès to Gardel) became also a very appreciated composer. In particular, he soon found that the field in which his music could really excel was that of tango music.
And tango music was precisely the link connecting him with his younger colleague, Astor Piazzolla.
Piazzolla was born thirty-one years after Gardel – i.e., one generation later. Although Astor was born in Argentina, he too came from a European family; in his case, his parents and grandparents were Italians, respectively from Central (his mother’s family) and Southern Italy.
But just as Gardel had left Europe as a toddler, similarly Piazzolla remained in Argentina just for the first three or four years of his life, before returning to it multiple times in the course of the later years. In 1925, his family moved to New York, where they settled in the Greenwich Village. There, the child was exposed very soon to a variety of musical forms: the budding jazz culture of the Roaring Twenties, but also the traditional musical heritage of Argentina, as well as Western Classical music, in the disks owned by his father. It was also from his father that Piazzolla received his first musical instrument, a bandoneon (a kind of accordion) which the boy learnt to play spontaneously, by observing and studying what his father did with his own instrument.
It soon became clear that Astor had a particular gift for music, and he took music lessons – always in an informal, but yet very solid fashion – with some important musicians. Playing technique was taught to him by a Hungarian pianist, Béla Wilda, who had studied with legendary Sergei Rachmaninov. It was precisely at that time, in the mid-Thirties, that Gardel and Piazzolla met. Gardel invited Piazzolla to play with him extensively; their cooperation extended to one of Gardel’s most celebrated movies, El día que me quieras, in which young Piazzolla also plays, as a newspaper boy who appears in a cameo. Songs featured in this movie include many of Gardel’s most successful ones, such as the one which lends its title to the movie (“El día que me quieras”), sung by Gardel with Rosita Moreno; “Sus ojos se cerraron”, and “Volver”. All three are tangos (while other songs in this movie are country songs, waltzes, or rumbas). And all three also appear in the album we are about to listen.
It seemed established that a great friendship and cooperation would develop among the two musicians, sealed by the older one’s invitation to the younger one to accompany him on a concert tour. As is easily imaginable, the teenager Piazzolla was thrilled by that perspective; it is also easy to imagine that he was highly disappointed when his father – who would later be immortalized by the famous tango Adios Nonino – forbade him to accept Gardel’s invitation, on the ground that the boy was still too young. This seemingly harsh prohibition was to be an act for which Piazzolla would remain grateful to his father all his life. Gardel, with the musicians who had accompanied him, was to die tragically and prematurely precisely on that occasion, in a crash between two planes.
The young man’s career started to develop; very cleverly, however, Piazzolla was able to pursue in parallel both his budding career and his studies. Some of his teachers were among the greatest musicians of his era; furthermore, Piazzolla eagerly studied the works of musicians who could not directly teach him (among them, to cite but two, Igor Stravinsky and Maurice Ravel). Moreover, his attention was always divided between classical music (including “modern classical” music), jazz, and traditional Argentinian music. Among his mentors were Alberto Ginastera, composer and pianist, whose teaching had been recommended to Piazzolla by Arthur Rubinstein.
This background was to prove Piazzolla’s most original trait, but also the most controversial one; and whilst the true appearance of his tango nuevo would manifest itself some years later, his first experiments in musical innovations were already worrying many musicians with whom he had cooperated until then. It became clear that Piazzolla had to manage an orchestra or ensemble of his own if he wanted to delve deeper into the potential of a new musical style associated with traditional tango but also distinct from it. In particular, just as Bach (and others) had disenfranchised the stylized dances of the Baroque suite from actual dancing, and turned them into pieces “to be listened to”, similarly did Piazzolla try (and succeed) to free the tango from his status as a background to dancing, and to turn it into a concert genre.
The road to that was to be very long, though. Whilst already in 1946 did Piazzolla found the first orchestra of his own, four years later he faced a deep crisis. The orchestra was dismantled, and the musician was tempted to forsake entirely the genre of tango music. He was increasingly attracted by jazz, and his works of the early Fifties are highly experimental. Wishing to further his musical experiences, he courageously took a major step: he crossed the Atlantic, and went to study with legendary composer Nadia Boulanger. Piazzolla, in awe before her, and fearing that his Argentinian background would have compromised his “seriousness” as a composer, offered her first his most avantgarde compositions. However, it was only when he eventually displayed his tangos to the teacher, that she became truly enamoured with his talent and manifested her enthusiasm for him. She did help him to perfect and polish his compositional style in the Western Classical tradition, but, at the same time, urged him to walk his own, unique path, in the blend between that and tango music.
From that moment, Piazzolla’s life and career changed entirely. He was to found a long sequence of ensembles, with various settings; the most successful of them was probably the quintet. In these ensembles, a variety of instruments, from a variety of provenances, could find their place. Scandalizing tango purists, he was to admit instruments from the classical tradition, from the world of jazz, but also from the new worlds of electronic music or even of rock music. A similar scandal, it has to be said, was to ignite among Classical music purists, who were analogously outraged by the presence of bandoneons and tango music in the temples of Classical music.
In spite of all this, Piazzolla quickly established his name as a very innovative voice in the panorama of twentieth-century music. He lived on both sides of the Atlantic (also due to the political situation in his country) and gained reputation worldwide. A nation which welcomed him with particular enthusiasm – possibly also due to Piazzolla’s roots there – was Italy, where Piazzolla cooperated with some of the most important musicians of the era (including Mina, Milva, or Tullio De Piscopo) and where he created and recorded Libertango.
This tango, one of the most celebrated of his output, was also to become a protagonist of numerous movies, and was to be remixed or reinterpreted by countless artists. However, along with this, Piazzolla was to write or compose approximately 3,000 works, a sixth of which were recorded by him.
Some of his most prestigious cooperations include that with Jorge Luis Borges, probably the greatest writer of his country, and with immense cellist Mstislav Rostropović; Piazzolla also wrote an opera, María de Buenos Aires, and constantly referred to the musical tradition of the past. His Estaciones Porteñas, recorded here, are an explicit homage to Italian Baroque composer Antonio Vivaldi, but allusions to musicians throughout the history of music punctuate his output.
The works recorded here, therefore, constitute a kind of Histoire du tango, borrowing the title from one of Piazzolla’s famous compositions. A history written by genius musicians such as Gardel and Piazzolla, but a history to which also the humble, unpretentious contributions of anonymous, unnamed musicians are integral components. And both Gardel and Piazzolla would have been glad to acknowledge this.
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