Impossible Tango constitutes a musical proposal that takes as a point of departure and accompaniment Tango as musical and poetic genre. In an integrative movement, I gather my sonorous experience to recreate with original arrangements, variations and improvisations, beautiful pieces of the greatest authors of the genre:: Volver (Gardel y Le Pera), Organito de la tarde (Castillo y Castillo) y Fruta amarga (Gutiérrez y Manzi) among others, Including authors like Aníbal Troilo, Roberto Grela and Ástor Piazzolla. In the same way, I present original works that use the Argentine popular music, particularly the Buenos Aire´s music, as a formal and stylistic resource, continuing and prolonging the musical creation with the same aesthetic coherence: “carnival”, “Autumn milonga”, “Three waltz moments” and the tango “Lulu”. Arrangements and interpretation are for piano soloist.
This album was slowly brewing during a search for recreation of Argentine tango works that resonated in my sonorous imagery and in my affection, both for their melodies and also for the aesthetic proposal of their lyrics.
My musical experience, as an interpreter and also as a listener, always extended beyond tango, involving other popular genres such as Brazilian popular music, jazz and Latin American folklore, as well as academic genres, particularly romanticism, impressionism and Contemporary music.
Thus, in the disc appear elements that are not intrinsic of the genre. In the tango "Volver", by Gardel and Le Pera, preceded by an original introduction, I present the melody accompanied by contemporary harmonies that present a surrealistic, dreamlike sound. The tension grows as the sense of the tonal system, characteristic of traditional tango, fades.
These characteristics are also found in the versions of the tangos "Organito de la tarde", by Cátulo and José Castillo as well as in "Fruta Amarga" by Guitierrez and Manzi.
The beautiful tango "Callejón", by Roberto Grela, is presented with a pianism derived from the impressionistic sound that comes from the tradition of composers like Ravel and Debussy.
The tango "Desencuentro" by Troilo and Castillo is introduced by a funeral march, which is then merged with the work, inspired by the death drive that Castillo presents in his tragic character.
In "Libertango" by Ástor Piazzolla, the variation is mainly rhythmic, joining the melodic lines with the polyrhythms of Latin American folklore.
Accompanying these works of the genre, I present own compositions, in arrangements also for solo piano.
Perhaps these compositions are more closely linked to rhythmic gears, as in the candombe "Carnaval", in the milonga campera "La tanda triste" or in the tango "Lulu".
In short, this repertoire allowed the search for a language of its own, created by the integration of sounds from diverse origins and genres assembled in my own sonic imagery and guided by the rich production of Tango´s music and poetry.
Impossible tango was presented in prestigious rooms, both of academic music as well as in tango stages.
These include:
La Scala de San Telmo (Bs As),
Centro cultural “Oliverio Girondo” (Bs As),
Sala Guastavino del “Centro Nacional de la música” (Bs As),
Le Centre Communautaire Maritime (Bruselas),
La sala “Josep Puig” (Barcelona) ,
El “Club Atlético Fernández Fierro” (Bs As),
El “SADEM (sindicato argentino de músicos)” (Bs As).
He began studying music and guitar at age 7 and began studying the piano at the age of 9 with Professor Graciela Rodríguez. From the age of 11 began to play chamber music in wind ensembles. He then began studies of harmony, counterpoint, audio perceptive and musical language with Maestro Francisco Gutierrez. He then continued his studies with the prestigious music and pedagogue Violeta Hemsy de Gainza. He entered the Faculty of Sciences and Music Arts of the Universidad Católica Argentina to study the Composition career. He deepened his knowledge of popular music (especially jazz, tango and Brazilian popular music) with maestro Osvaldo Belmonte. He studied with Susana Agrest, taking tools from her piano school and during 2007, 2008, 2013 and 2014 studied and deepened the style and aesthetics of tango with Maestro Nicolás Ledesma.
Since its beginnings in the Buenos Aires stages along with artists such as Walter Romero and Verónika Silva, and their performances with the typical La Furca orchestra at the Buenos Aires Tango Festival, their activity was marked by the tango genre. He made arrangements for various formations and worked with prestigious artists in the tango such as the bandoneonists Pablo and Lautaro Greco In 2005 He integrated the ensemble of tango companies Mr Tango and Señor Tango on their South American tours. In 2006 he presented the Colegiales Tango Trio in various settings in Buenos Aires. In 2007 Luis creates Arrullo de Tango, a quintet with classical training within the tango and with an orthodox repertoire within the genre. Since 2008, with his residency in Barcelona and in Buenos Aires, he has constantly developed his activity within the tango genre in stages of the old continent and
Argentina, mainly with the quartet "Arrullo de Tango", in addition to collaborating with other groups. Since 2010 he formed the Tango Rante Trio, which later expanded his training to constitute the "Tango Rante" Quartet. From 1013 to date its activity is centered in Argentina, located in the City of Buenos Aires. During 2016 he worked in his first solo piano production, "Impossible Tango", where he develops arrangements, variations and improvisations on classical tango works and where he also presents his latest compositions, pieces that take as starting point various genres of popular Argentine music With special emphasis on both the formal and the stylistic aspects of the tango language, while including elements of impressionism and surrealism. This work was recorded in the album "Tango Imposible" edited by the label "El cirko".
