The tango came to Argentina from Spain. Opinion.
Monday, January 31, 2011
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TANGO BECAME THE FROM ARGENTINA ANDALUSIA.
A widespread idea about the origin of the tango was born without letters argues that by 1880, which becomes rhythmically from the Cuban habanera and then, to receive 'letrillas scurrilous and brothel' would be transformed by turns enlightening and sometimes other transient and forgettable. Thus synthesized the first tangos were popular media expressions dance without singing, and that between 1890 and 1900 was incorporated picaresque lyrics and slang of the records are kept still. This may not be very uncertain but the concept belongs to a line that for decades ignored a contribution certainly essential, the Andalusian roots shown in the first tangos, as evident in Angel Villoldo, author of Founding that music and whose most important work was given at the beginning of the twentieth century. That initial reasoning, too, thought inseparable from the Tango slang, jargon or code between the two so that does not find a third, which finally resulted in two independent cultural expressions, but rather two absolute free drinking Argentine profiles of the colony, well into the twenty-first century hold true identity our people.
tanguillo
The influence of the Andalusian, the habanera and the contribution of Portuguese fado sentimental - little-considered but obviously are unavoidable to interpret the origin of the tango; incorporated into the way an expression of generations of Argentines and persists.
The influence of the Andalusian, the habanera and the contribution of Portuguese fado sentimental - little-considered but obviously are unavoidable to interpret the origin of the tango; incorporated into the way an expression of generations of Argentines and persists.
Despite not being home a genre sung, and by the year 1811 appears a song sung by the fighters of Cadiz to the Napoleonic invasion, 'with the pumps that pull the blowhards are made corkscrews Cadiz', referring to French bombs were not exploding. And lingers
its rhythmic line, referred to specialist Roberto Selles milonga that was always 'a musical species emerged from the song, as its predecessor, the guajira flamenca', as 'milonga' is a voice of Quimbunda, a language of Southern blacks in Brazil it means' milonga: many words, chatter. " And today say 'let so much milonga' expresses a resounding 'please, do not talk anymore. " Another statistic that refers to the first guajiras creolized were sung by the locals letrillas Andalusian malice or fleshiness brothel, and in 1857 at the Victoria Theatre Buenos Aires Tomá mate singing, che, English Santiago Ramos, and referred to the native habit of drinking mate saying 'I told a girl to me, this Buenos Aires kills me. Tomá mate, hey, it takes mate, in the Rio de la Plata it is unusual chocolate. "
Later, 1868, the first tango in Argentina, The black Schicoba, José María Palanzuelo,
an organist of the Cathedral of Buenos Aires letter Mc.Key Germain, an actor Panamanian really a playful air Andalusian song that said 'cun face a tango tango, a tango tea cun face, give me a kiss my black now that no one sees us. " José Manuel Caballero Bonald Then, in his classic English dance of the old school, talking to each other of 'Bartolo' or 'Bartolillo', and verses stood out 'Bartolo had a flute with a hole and his mother only said, playing the flute Bartolo. " Uruguay that was adapted to the milonga and tango Argentina was sung as' Bartolo left mine, I do not want to leave, because I saw me fit and I get to morfar '. already existed prior Andalusian tango is creolized marked with the Cuban habanera rhythm, as the "Queco", synonymous with brothel, who sing the troops of General Arredondo for 1875, before the battle of the Quebracho 'Queco pal vení hollow Queco, I have to talk ', long in its first report as an expression of compadrito tango. By 1881, Stock flamenco, Antonio Machado y Alvarez, is mentioned El Tango de the Casera, which became the Buenos Aires Tango Recoletero referring to those involved the pilgrimages of the Recoleta or Pilar family gatherings dl days ago that was attended by some tango dancers. The aforementioned Angel Villoldo, - the first professional author tango musical, took rigorous basis for the Andalusian tango and the couplet and ' The brunette ', his most famous tango in 1905 to compose music of the pianist on Enrique flavor, is a couplet meant to be sung by the English Lola Saborido Candales who along with acting in a street cafe in Buenos Aires Reconquista. By 1906 Villoldo composed Watch Fifty, another topic for their ingenious construction and then recorded by modern orchestras and spent nearly a century. This issue of Angel Villegas, for argument and the style was an unquestionable Andalusian tango: 'a moral Ordinance enacted the police authority, and that man should abstain say sweet words to a woman. Hush, that to which you will pay fifty PROPASE. " In addition to the Beware recognized Fifty gender are other traces of English boy in compadritos Villoldo, 'Here are the bull, Creole braggart who stepped over the population', today it sounds fun and zarzuela. And critical spirit occur to us that this author or news would the view that Domingo Faustino Sarmiento in his book Facundo, Civilization and Barbarism, say by 1845 'in Buenos Aires in particular, is still very lively English popular type, the majo ... all compadrito movements reveal the nice, the movement shoulders, gestures and placement of the hat to the way of spitting in its fangs, it's all a genuine Andalusian. " A very keen observation of a very busy Sarmiento, we assume, in the field of tanguería.
For over one hundred years of existence, the tango had noticeable changes in rhythm, his lyrics have influenced the literature of the Argentines. Today the few new tangos sung sustain their argument
personal to the social, musical and although its construction is more likely to be more chamber music with harmonious development itself very suitable for solo, says 'taste' inherent in its origin.
well as the difficulty of interpretation that took his character to tango, Jorge Luis Borges in 1930 and warned about the literary quality of his lyrics: 'of unequal value, because feathers are from heterogeneous tango lyrics as inspiration or industry been developed, comprising an inextricable "poeticum corpus", which historians will one day vindicate. It is likely that around 1990 leads to the suspicion that the real poetry of our time is
The Urn , Henry Light Banchs or Province Carlos Mastronardi, but imperfect parts that are treasured in the Soul Singing. " And Borges referring to a popular weekly publication that spread lyrics new and old tangos, adding "this assumption melancholy or culpable negligence, I have forbidden the study of this repertoire chaotic." An ironic reflection of Argentina as he no doubt on identifying our song ... But not only the way the tango would have deserved a larger debate among us, there were other serious cultural expressions that Argentina never face, perhaps in perpetuity to maintain the existing contradictions. _________________________________________________________________________________
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