Tangos de Aquellos
DANIEL GÓMEZ He was born in Argentina, in San Martín a district in the Province of Bs. As. He started his studies of classical guitar, with Prof. Gladys Colantonio at ' Escuela Argentina de Guitarra' when he was 8 years old. This institution was directed by Prof. Stella Maris Rivero and Prof.Lucila Saab. As from 1985 he studied at the National School of Music 'Carlos López Bouchardo' with Prof. Oscar Olmedo and Prof. Ricardo Elías. He later studied harmony and improvisation with the guitarists Juan Barrueco and Armando Alonso. In 1994 he took part in the 'Berklee Seminar in Argentina' with the American guitarist, Bruce Barlett. In 1999 he took lessons in Los Angeles (U.S.A) with the jazz guitarist, Sid Jacobs,guitar professor at the Guitar Institute of Technology (G.I.T.), in Hollywood. Daniel has been part of the duo 'Dos guitarras de Tango' together with Martín Bendetti. They have performed in 'Centro Cultural Recoleta', Bs.As. Engineering University, 'La Scala de San Telmo' and at the BsAs International Tango Festival, among others. In 1999, he took part, as a composer, an arranger and an interpreter, in several tracks from the record 'Cuando canta el corazón' and 'Tangos para fin de Siglo', accompanying the tango singer, Isabel Mendoza. Both these records, were by Melopea. He has also worked in different cities in Argentina, accompanying Cacho Castaña (tango), Jorge Marziali (folklore) and 'Opus Cuatro' among others. In 2001, he edited his first CD, as a soloist, called 'Tango de Aquellos', edited by the independant lable PAI. It is by mid 2001 that he starts a tango duo, with Claudio Méndez, with whom he has just edited a new CD, called 'TANGO NUESTRO'. At present, apart from his work as a teacher, he is taking part in the play, 'Tangos Canallas', together with the actress and singer Jana Purita, the actor Carlos Durañona and the guitarist, Miguel Luchilo. This play is based on texts of Roberto Arlt, Iván Diez and Armando Discépolo, among others, and it is written and directed by Roberto Sáiz. In 2002, the play was performed at the 'Club del Vino'and in 2003, at the 'Bar Teatro Tuñón' in BsAs city. 2003 to present: three tours with the duo to Spain: Madrid, Barcelona, Burgos and also four tours with the duo to USA TANGO Buenos Aires city, the capital of Argentina, has it's own culture and it's own music: the tango. Well known all over the world as a dance of special sensuality. This is true. But we should know other aspects to give value to it. If we talk seriously about tango history, we talk about the sentimental history of the spirit of Buenos Aires people. Buenos Aires of the eighteen-seventy's (1870's): Enormous European immigrations. More European than natives lived in the city. Humble people escaping from the poorness of Europe with the hope of doing better. They also met the humble criollos (Creoles-native people) owners of a disregarded and depreciated culture by the high class .It was at that time when the tango was born. It already has 130 years of history. By eighteen eighty (1880), different dances were danced on the city: milonga, Spanish tango, and the habaneras, all very similar. The authors and the public did not make much of a difference and called all this music "tango". It is the time of primitive tango. A marginal tango of brothel and places of the underground world. A forbidden dance, vulgar, sensual, that was not danced by decent women. So, it was common to see men dancing those tangos together in the streets. The tango as a forbidden music would last for the first two decades of the XX century. During the first years of the twentieth century it seemed tango popularity started to decrease. Some critics were happy and prophetically announced that this decadent dance was finally over. But this was not what happened. As time went by, the Tango music became a deep symbol which represented culturally many argentines. This special feeling has to do with two factors: the first was the birth, at the end if the nineteen century, of the "Circo Criollo" (native- Creole circus) a real native theatre. An original creation of brilliant, inspired artists who decided to adapt very important creations of the universal theatre (for example: Shakespeare) to the scene and to the native culture of the time. Their works included tangos. The identification of the public with what these tangos expressed was really strong. Very often singers had to repeat them several times, till people could learn the lyrics and melodies by heart. This type of argentine opera theater contributed to tango with the dramatic element also giving it's Argentinean identity. The second factor was the appearance of brilliant and creative artists and intellectuals in the twenties and thirties of the twentieth century: qualified people with artistic sensibility. People with the ideals of the time, who pretended to feed the sensibility and identity of the working class with popular art. They produced popular music with rigor and excellence in their work. This effort for giving people a sensitive education generated a real communicative metaphor: the people were the instrument, the artist was the interpreter. People giving value to it's sensibility, to it's affective capacity. As from the 20's the tango changes .The Habanera type accompaniment is no longer used, and with the "four beats" rhythm gradually changes into the "Decaro" style. The tempo becomes slower and the themes of sadness and love failure come into fashion. Up to that time the tango was played basically with guitars. Among the composers, from the periods mentioned above, Eduardo Arolas, Agustín Bardi, Julio & Francisco De Caro, Pedro Laurenz and Francisco Canaro, stand out. It is from that time, the new artist who consolidates the new style of singing the tango: Carlos Gardel. He was also a brilliant composer. The 30's With the talking film (movies) the success of tango becomes popular and orchestras start to grow. The piano and the acoustic bass join in. Sebastian Piana creates the City milonga, very different to the countryside milonga. The 40's They are the golden years of tango, of economic bonanza. Social progress of workers in Argentina during the second war and pos-war years. The big orchestras appear. Violins, violas, cellos, several bandoneones and the piano. Great composers and interpreters appear a that time such as Anibal Troilo, Alfredo Gobbi, Osvaldo Fresedo, Enrique Mario Francini and Horacio Salgán . The 50's An avant garde develops in tango an equivalent of the bebop in jazz. Astor Piazzolla appears as a leader . It is at that time that tango starts losing popularity because of foreign music on the radio. The tango fans rejected Piazzolla's innovations and Piazzolla and his followers were accused of traitors to tango. With this evolution tango becomes concert music instead of a music for dancing. The 60's and 70´s These are the difficult years. Young people definitely turn to rock and pop music (Beatles, Rolling Stones, etc.) the taste for dancing tango is lost and it is only listened to in clubs and places for foreign tourists. Yet the avant garde tango makes progress. Piazzolla starts to be successful in Europe. In the last twenty years tango started to recover popularity. People of different ages learn how to dance it, how to sing it and play it again. In conservatoires where European music was always the only music played, tango lessons started. There are places to go and dance tango all over the world as well as interest to know about tango music. Poetry If you ask any argentine in what tango calls his attention, he will not precisely speak about the dance, he will speak about it's poetry. This is because tango forms part of our sentiment and of our language. Tango is a three minute opera. It is from the poetry of tango that value is given back to what is popular and marginal. The topics are varied: The return to the neighborhood is one: 'To return, with withered face, the snows of time have whitened my temples. (Volver- To Return-) Another them is skepticism: "That the world was and it will be filthy, I already know... But, that the twentieth century is a display of insolent malice, nobody can deny it anymore". (Cambalache. ) Love rupture is another big poetical theme: :"From each love Y had I have wounds" (Tarde -Late-). Alcohol: "Tonight we will drink for we will no longer see each other". (Los Mareados-The dizzy ones-). The mother as well as the Creole duel, the landscape and the city, are important part of the poetical tango material. Conclusion The quality of compositions, and their deep lirism, have enabled tango to last in time and to reach international fame, being it not only due to it's merits and authenticity but to the esthetic level it has reached and not easily surpassed by others. It is a musical genre of unexhausting melodic and rhythmical richness, a literary-poetical system, deep and sensitive. It is also a dance that with it's sensibility revolutionized the modern history of dancing. It is the most genuine and original artistic phenomenon ever generated in Argentina.