Astor Piazzolla – Six Tango Etudes for Flute (1987) [Score-Video]
Astor Piazzolla – Six Tango Etudes for Flute (1987)
These six tango etudes are a highly original blending of the classical concert etude and Piazzolla’s « new tango » music. They present the player with technical challenges pertaining to given aspect of flute playing, yet are effective concert works. Although the tango rhythm is never very far away in this set, much of the interest of the music lies in how Piazzolla finds new textures and playing techniques for the solo flute. Gidon Kremer effectively transferred these pieces to the violin on his Tracing Astor album, and there is also a well-known arrangement for saxophone, by Delangle. For no very good reason other than the solo instrumentation, these works are often likened to Bach’s partitas and sonatas for solo violin. They were composed in 1987 and belong to a group of works from Piazzolla’s later career in which he returned to « classical » specification of the musical moment while by no means abandoning his connection to the tango.
No. 1 Decidé (Decisively): This etude has a strong, underlying tango rhythm, though the triplet subdivision of the beat makes it a work in 12/8 rather than 4/4. This is a study in accentuation and in creating the illusion of two separate melodic lines. The notes that fall on the beat are accented to bring out a melody, while the remaining two notes of the beat are played more softly and less staccato, to make a florid accompaniment.
No 2 Anxieux et rubato (Anxiously and with rubato): This melodically based etude is the longest in the set at over seven minutes. The melody has a haunting quality; two phrases are played in a florid, flowing manner, then followed with a nervous descending scale figure, creating a mood like nervous laughter. As the direction « rubato » requires, the beat is flexible. A central section rises to a more assertive emotional level, but the music returns to the uncertain main theme.
No. 3 Molto marcato e energico (Very markedly and energetically): This etude takes up the texture and technique of the first etude but demands even more florid and difficult playing, with stronger dance rhythms. The central section has a more lyrical quality but preserves features of the first part, and the quick shifting of register creates the impression of a duet texture.
No. 4 Lento meditativo (Sadly meditative): Technical flourishes are all but abandoned here, in favor of one of Piazzolla’s heartfelt legato melodies. The piece tests breath control and the ability to shape and communicate a line directly to the listener. The final, quieter repetition of the opening material is deeply touching.
In No. 5 Sans indication (Without tempo/expression marking), it seems that Piazzolla’s next test is to let the artist decide how fast and of what character this music should be. It is the shortest of the etudes and contrasts florid runs with a bobbing staccato motive, ending with something of a musical question mark.
No. 6 Avec anxieté (With anxiety) is a fast counterpart to the second etude. Fast, constrained triplet figurations create the impression of being locked into a place or situation while the anxiety to escape escalates. The melody suddenly sounds liberated and calm. Then, once again, the melody seems to be trapped in its box, and the etude comes rapidly to a conclusion.
Description by Joseph Stevenson
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