VENDRAS ALGUNA VEZ- WILL YOU COME SOME DAY Tango Music A Malerba Letter: L Cesar Amadori – 1938

Si supieras que estoy solo
entre tanta y tanta gente
si supieras que estoy triste
mientras ríen locamente;
tengo todo y me parece
que sin vos no tengo nada....
y en la noche atormentada de mi amor,
te pregunta temblando mi voz.

Vendrás alguna vez...decime.
Vendrás por el camino de mi soledad.
Y no me importa lo que diga la gente,
ya ves, humildemente, te pido que vuelvas.
Vendrás alguna vez...mentime.
Mentime si es que nunca volverás.
Porque prefiero vivir de esa mentira,
que andar tras de la muerte sabiendo la verdad.

Tu reuerdo me persigue,
tan tenaz como la sombra,
y en la noche solitaria
oigo el viento que te nombra.
Yo te llamo en mi amargura
aunque nadie me conteste,
y es inútil que proteste pues mi amor
es mas fuerte que todo el rencor.



Vendrás alguna vez...decime.
Vendrás por el camino de mi soledad.
Y no me importa lo que diga la gente,
ya ves, humildemente, te pido que vuelvas.
Vendrás alguna vez...mentime.
Mentime si es que nunca volverás.
Porque prefiero vivir de esa mentira,
que andar tras de la muerte sabiendo la verdad.
                         

                                     

If You knew that I'm alone
Between so, so many people
If you knew that I'm so sad
and they laugh as they were crazy;
I have everything but seems to me,
That without you I have nothing,
and in the stormng life of my love,
My voice, trembling asks you:

Will you come some day...tell me
You will come some day by the solitude way
And I don't care what people could say
You know, modestly, I ask you to come,
Will you come some day...lie me
Lie me if you never will come back,
Cause I prefer to live into this lie
Than walk behind the Death knowing the Truth.

Your memory pursues me,
so hard as the shadow,
and in the solitaire night
I hear the wind that names you.
I am calling into my sadness,
although nobody calls me,
and its useless that I protest cause my Love
Is stronger than all the bitterness.



Will you come some day...tell me
You will come some day by the solitude way
And I don't care what people could say
You know, modestly, I ask you to come,
Will you come some day...lie me
Lie me if you never will come back,
Cause I prefer to live into this lie
Than walk behind the Death knowing the Truth.

ANTS,TANGO, DOGS,TANGO, POOL TANGO DANCER TANGO,EVERYBODY TANGO,EVERYWHERE TANGO!!!

Piano ,bandoneon and violins all comanded by the great Rodolfo Biagi aboard a neat and punctillous optimism,come over here to go over there,how oxigenating and carefree !!! Tango of the Good Old Days?? Sure. but they sincopated so well to carry on with thw now a lonely dancer all tangled up within diverse exotic nature that among other things includes Misiones Golden Ants, Britanico's Manolo waiter, Veira Coaching San Lorenzo Athletic Club Football Team, a dandy old-fashioned at queen bess, dad with rubber -bow and the kids throwing stones in stereo, a penguin with oil saved by specialists,a plane menacing Buenos Aires...                              

HISTORY-ORIGINS OF TANGO

ORIGINS OF TANGO

REPORT  OF ORIGINS OF TANGO

Reading about the different or similar point of view of the investigators I decided to describe them in form of simple schematic, sketches to describe what every author was dealing with the problem and with a better comprehension of them.

I tried, into these sketches to define a direction of a flux, ending with the proposition of the Investigator, to a final conclusion.

We  can see  that music is traveling from one country to another, and at the same time transforming and receiving different influences.

I found that music traveled from the Old World to the New World and viceversa, changing  of name, adopting others, staying in some places as migratory birds and finally laying to another part.

Could be that those music that stayed in a place couldn’t get any evolution as the “migrant” music or form of music, going finally to an  invisibilisation process.

 I found different positions of Authors, different ideas coming from them, some of them interesting and originals.

Others,  allowed  themselves  a view of complet dependence from Europe. The so called “Theory of Cultural Radiation” from a superior level to an inferior one.

The lack of  Documentation, or documents that can be distorted in benefits of a Theory, the Myths that are reserved in order to simplify the final arriving to a conclusion, the quick simplification , attempted against a clear identification of the problem.

These were the obstacles I found about all the information I had in my work table:

1)     Huge, extensive bibliography

2)     Diversity of judgment

3)     Multitude of every type of authors, famous novels authors, music lovers, lecturers, musicologists, musicians, historians,etc.

4)     Lack of strictly investigations in some of them.

5)     Lack of Documentation.

6)     Never- ending discussions between authors.

2- DIAGRAMS

Was not my intention the elaboration or repetition and no afirmation of any of the Theories about Tango Origin’s.

But I tried, into the limits I could , that its possible to understand what’S new on every Author’s Theory.

So, I described it in from Diagrams for each Author and  looking for any logical interpretation and conclusion. I’ve tried that these Diagrams were  as simple as possible  and that  can be followed by a System like a Flux Diagram, sometimes I found one or more of the Investigators dealing by the same way of logic.

I found that, some of them made my job easy but others began to answer and very critics with his colleagues…so everything was more difficult…There was whose could not justify or probe a hypothesis and put a final point abruptly.

And there was who using his fame or prestigious were  used and were lost in the sea of  vanity.

Also there were another Authors whom used their Musical Knowlegdments to fundament their Hypothesis, was for me impossible to integrate them in a Simple Scheme as it was presented.

In fact., I think these Diagrams can help to get a new view of the Origin of Tango.

I’ve been used Bibliography from the Authors, copies, parts of their Books and the  Library of the National Institute of Musicology.

Diagrams are in an Excel attached sheet and they are:

DIAGRAM 1	AFROCUBAN TANGO-ANDALUZ TANGO	ROBERTO SELLES
DIAGRAM 2	CREOLE TANGO	ROBERTO SELLES
DIAGRAM 3	ANTOLOGY OF TANGO OF RIO DE LA PLATA	JORGE NOVATI
DIAGRAM 4	THE MUSIC IN CUBA	ALEJO CARPENTIER
DIAGRAM 5	THE HISTORY OF TANGO 1-BLACK ROOTS OF TANGO-CANDOMBE	BLAS MATAMORO
DIAGRAM 6	HISTORY OF TANGO-SPANISH ROOTS OF TANGO	BLAS MATAMORO
DIAGRAM  7	ARGENTINEAN’S DANCES AND SONGS	CARLOS VEGA

                        DIAGRAM 1

                        DIAGRAM 2      

                          DIAGRAM 3

                          DIAGRAM 4

                         DIAGRAM 5

                           DIAGRAM 6

                              DIAGRAM 7

3-COMPARISON AND CROSSING DATA

DIAGRAMS 1 y 2: Roberto Selles thinks that Tango is coming from a black Counter dance, he doesn’t talk about Habanera but Tango that leaves Cuba to Cadiz and from there with the contribution of Cadiz and we can see from Scheme there is a continuous turnaround from Havana to Cadiz till the insertion in America as Andaluz Tango.

Second Scheme is in reality a continuation of the first were Tango becomes Creole Tango.

DIAGRAM 3: Jorge Novati gives as origin the Country Dance which is in England and after goes to Cuba were  it is converted into Habanera or Tango and from there arriving to the Rio de la Plata from Europe.

DIAGRAM 4: Alejo Carpentier  begins from a part of Counter dance and in Cuba and Santo Domingo and accepts that Habanera was in Cuba before. From there the rhythm left to Spain and from there arrived to Argentina. We could see a superposition between 2 Theories: Schemes 1 and Scheme 4.

DIAGRAM 5 : Blas Matamoro, Black Roots of Tango-Candombe.The Author only admits a certain influence in the choreography of Candombe but denies every other contribution from Candombe to Tango.

DIAGRAM 6: Spanish Roots of Tango : coming also from Counter dance in the Courts but from Spain and arrives to Rio de la Plata trough the Zarzuela appearing like Tango Porteño or Habanera, depending on the social behaviors were it was Developer.

DIAGRAM 7 – Coming from Andalusia were it was a very popular genre as Andaluz Tango and trough Zarzuela where were added Habaneras, polkas and mazurkas. Arriving to Buenos Aires were Creole Authors and Spaniards residents were composing mores Andaluz Tango that will be evolving till finally merged into Creole Tango.

To clarify these concepts and coincidences and contradictions we could say then :

That Counter dance arrives from Europe to America and  as:

Habanera…………………………………………………….D-6

Habanera,Andaluz Tango………………………….............. D-4

Habanera ………………………………………….............. D-3

\Which was the vehicle from these rhythms from Spain or from Europe?

Zarzuela……………………………………………………D-1, D-6

Ballroom (¿??? Habanera???.......................................D-3

Zarzuela and Habanera………………………………………D-4

And arrived to Buenos Aires as:

Andaluz Tango…………………………………………….D-1,D-7

Spanish Tango/Andaluz…………………………………...D-2

Habanera…………………………………………………..D-3

Zarzuela and Habanera………………………………………D-4

Zarzuela……………………………………………............D-6

Zarzuela: Spanish Operetta

Aharounian Coriun,2007 Musicas populares del Uruguay.Montevideo.Universidad

De la Republica.

Ferrer,Horacio 1999.El Tango.Su Historia y evolucion.Buenos Aires Pena Lillo.

Gesualdo,Vicente.1961.Historia de la musica en la Argentina.Buenos Aires beta 2 volumenes.

Novati,Jorge 1980.Antologia del Tango Rioplatense.Desde sus comienzos hasta 1920.Buenos Aires.Instituto Nacional de Musicología ¨Carlos Vega.¨

Matamoros,Blas 1976.Origenes musicales¨(55-98) La Historia del Tangos sus origenes.Buenos Aires.Corregidor.

Selles Roberto 2004.El Origen del Tango.Buenos Aires.Hecuba.

Vega,Carlos 1936.Danzas y canciones argentinas.Buenos Aires.Ricordi.

Ricardo Garcia Blaya

www.todotango.com/spanish/biblioteca/cronicas/origenesdel tango.asp

                    

PERMANENCE OF TANGO

The perdurability of Tango depends not only of its quality as popular art, etc,  but because it has the possibility  to be transferred into another rhythm.

Every Tango can be converse and merge with another popular music without losing its autentical roots.

There are hundreds of examples  as Adios Muchachos played by Louis Armstrong, Vida Mia by Dizzie Gillespie, or Nieblas del Riachuelo song by The Flamenco singer La Cigala, between others.

This reliability of this Urban Music is not often encounter in another Popular Urban Musics.

By the contrary is not possible to  apply these concepts to the so called Clasical Music, because into this Music, the artist cant “remove” notes and replace them without trespassing a forbidden limit imposed by  the constitution of that music, by the concept and by the context.

It’s impossible for a pianist, as example, to play a piece of Mozart, with changes during its execution. It has to be played from the first note to the last one the Author has written.

It’s not the time to make an absurd comparison but it’s not the way of Tango.

A piece of Tango can be changed in such  FORM THAT ONLY BY PARTS, SOMETIMES, it we can be recognize  as the Original.

But, no matter, because Tango flourish into that Freedom.. Because as a Popular Urban Music, Tango has exceded sounds questions being converted in a Cultural Phenomenon.

That’s why as an Urban Popular Music needs multidisciplinaries studies and many speciailist will be  required to do that job. We'll see some  examples of that reliability:

  Title:Nada - Tango- Authors Dames-Sanguineti           

Orchestra Miguel  Calo                                       

Singer Raul Iriarte

Title:  Nada-Bossa Nova- Artist: Caetano Veloso

Title: Por una Cabeza- Authors: Gardel & Le Pera- Tango-Singer Carlos Gardel

Title: Por una Cabeza- Authors: Gardel & Le Pera- Reggae - Los Pericos

We can find hundreds of these type of examples, however neither one version nor the others loses the vital esence of its composers, this is the point I wanted to arrived.: that Tango has  HUGE RELIABILITY TO BE TRANSFORM AS IF IT WERE  AN  ELASTIC BALLL which finally, returns or conserve its own image, reflected  everywhere. And this possibility aims to the musicians of every parts of the World to attempt with a Tango and with their own cultural behaviour.

DANCE “BODY CAN BE OUR PARTNER”

The body realized itself when mind release him.

As a bamboo branch, it preserves its structure in a relaxation and into our uncritical observation of our emotions.

The system is “naturally” elastic and dynamics. The body, as a vegetable, is solid and liquid, contains water and solids parts. The “trapped” emotions in the body have a tendency to solidify themselves, destabilizing the proportion of the elements in the System.

A calm and soft breathing put into place the vertebral column, cartilages becoming

distended and the nerves around muscles, spilling generously everything that was dry into the body.

Susana Miller – Tango Teacher-  February 2011

More information about Susana go to
www.tangodowntown.net-susanabio.html
www.chicagotangofestival.com.Susana_Miller.php