아스토르 피아졸라
퀸텟
Quinteto Astor Piazzolla

Quintet

Quinteto Astor Piazzolla

아스토르 피아졸라 퀸텟은, 1960년대에 창단되어 혁신적인 사운드와 멜로디로 당시 젊은이들에게 폭발적인 인기를 누렸다. 피아졸라의 음악은 정교함과 지성을 함축한 음악으로 인식되고 있다.

피아졸라 사후 아스토르 피아졸라 재단은 그의 정신을 계승하여 새롭게 퀸텟을 창단하였다. 라우라 에스칼라다 피아졸라는 탱고에 혁명을 일으킨 피아졸라의 방대한 작품을 해석할 수 있는 다섯명의 재능있는 솔로이스트를 모아 새로운 앙상블을 만들었다.

아스토르 피아졸라 퀸텟은 20년 이상 세계투어를 하고있으며, 위대한 아스토르 피아졸라의 아무도 흉내 낼 수 없는 독특한 스타일을 대표할 수 있는 유일한 음악 앙상블로서 인정받고 있다.

 

Julián Vat l Musical Director

Pablo Mainetti l Bandoneon

Serdar Geldymuradov l Violin

Nicolás Guerschberg l Piano

Daniel Falasca l Contrabass

Armando de la Vega l Guitar

Quinteto Astor Piazzolla

Astor Piazzolla wrote music for a large number of instrumental ensembles of various kinds. But undoubtedly the most famous of all and the most important was his quintet of bandoneon, violin, electric guitar, piano and double bass.

He created it in 1960 and it was his favorite tool in the process of building the Nuevo Tango, which he developed throughout that decade. The musicians who made up the quintet were all notable and exquisite performers that Piazzolla appreciated fundamentally for the ability to recreate their music, enriching it with their respective personalities.

Piazzolla then settled in Europe for a few years and temporarily left the quintet aside until 1978, when he reunited it with a new formation, which accompanied him until 1988, and which was the one that made him famous throughout the world. The repertoire of this new quintet was nourished by the New Tango of the sixties and compositions that incorporated new ideas, among which are some masterpieces.

After his death, Laura Escalada Piazzolla created the Astor Piazzolla Foundation in order to continue the legacy of the Master, and thus began a new stage in the dissemination of his music. Perhaps the most important of the most important actions carried out by the Foundation was the creation, in 1998, of the current Astor Piazzolla Quintet, with five virtuous soloists capable of interpreting the vast work of the composer who revolutionized tango. The members of this quintet are musicians of outstanding trajectory, who aesthetically commune with Piazzolla’s ideas, and who have been artistically trained under his influence.

With more than twenty years of experience, the Astor Piazzolla Quintet has achieved a surprising degree of interpretive prowess. Piazzolla’s works sound new and fresh as if they were emerging directly from the composer’s thinking, receiving unanimous praise from the international press.

Julian Vat l Flute, saxophone and musical director

Since 1990, Julián Vat has performed as musical director and musician for great musical figures such as Julio Bocca, Juan Carlos Copes, Miguel Ángel Zotto, Lidia Segni, Chet Walker  and Ana María Stekelman to name a few.

Vat is author to more than 70 musical creations for cinema, ballet and theater. He has also directed performances such as “Cabaret”, “Pingo Argentino”, “Tango de burdel salón y calle” and “Operatango” in Argentina and abroad. 

He has recorded “La Historia del Tango” alongside Cacho Tirao, presenting the work in Europe and Argentina. He’s also worked with Mercedes Sosa, Enrique Morente, Joan Manuel Serrat, and he’s presented himself as soloist with the Orquesta Sinfónica de Mar del Plata at the Teatro Colón, interpreting music by Astor Piazzolla. 

Among his many awards and recognitions, the most notable consist of: Ace award, the Hugo award for musical theater, and the Martin Fierro award for his work in musical theater, film and television. 

Since 2000 he has interpreted and directed music performances for the Astor Piazzolla Foundation, bringing the Maestro’s music to stages all around the globe. 

Pablo Mainetti l Bandoneon

He began his studies of music and bandoneon with Rodolfo Mederos. Later he perfected his instrument with Daniel Binelli, Julio Pane and Néstor Marconi; He also studied at the Avellaneda School of Popular Music. He began his professional activity at the end of the 1980s, participating in the tango show of Miguel Ángel Zotto, and in presentations with Marconi and Binelli. In 1992 he accompanied Mederos to some concerts in Seville, and there the circumstances arose for him to stay in Spain, where he remained until 1998. During that stay he worked systematically as an interpreter and studied composition with Alejandro Civilotti, who recommended that he study at that specialty at the Professional Conservatory of Music of Badalona, ​​Barcelona, ​​specialized in contemporary music.Concerto for bandoneon and orchestra by Piazzolla, which was accompanied, in the Harmonia Mundi label edition, by the Three Buenos Aires tango movements, with the Lliure Theater Chamber Orchestra, conducted by Josep Pons. This recording then opened the doors for him to perform as a soloist in numerous organizations, such as the National Orchestra of Spain, the BBC Orchestra in London, the Gulbenkian Orchestra in Lisbon, and the Prague Symphony, among others.

Upon his return to Argentina he joined the Buenos Aires Tango Orchestra, at that time conducted by Raúl Garello and Carlos García. At the same time he shared performances with Leopoldo Federico, Julián Plaza, Osvaldo Berlingieri and the Sexteto Mayor, and accompanied singers such as Roberto Goyeneche, María Graña, Amelita Baltar and Raúl Lavié, among others. In 1999 he organized his own quintet, with which he soon recorded a first CD, of three that he has released so far. In 2000 he joined the Astor Piazzolla Quintet by competition, with which he participated in concerts in Argentina and on European and Latin American tours until 2017.

Over the years he began to use his quintet for various compositional projects of his own in addition to tango production. For example, he composed the music to be performed live during the screening of the silent short film La returned al bulín , by José Ferreyra (1926), presented at the Buenos Aires Tango Festival; and the music for the children’s play, in musical theater format, Las Adventures de Pipo , based on a book of children’s literature by Aldo Maranca, with a libretto by Miguel Galperín read by Lucía Maranca, the author’s sister, represented in 2017 at the Colon Theater Experimentation Center.

He has composed numerous chamber and symphonic works. He participated in the 2018 edition of the Composer Conference directed by Mario Davidovsky at Brandeis University, Massachusetts, from which he premiered his work Three movements for Bandoenón and Ensemble , directed by James Baker. In 2019, the Juan de Dios Filiberto Argentine Music Orchestra with the National Youth Choir premiered his work for choir and orchestra La Música que nos Lle , on texts by Evaristo Carriego. He also composed two chamber operas, Ultramarina , with a libretto by Edgardo Cozarinsky and stage direction by Marcelo Lombardero, premiered in 2014 in Buenos Aires, and La Último Comilona , based on the film La grande bouffe by Marco Ferreri, on libretto by Jon Paul Laka and dramaturgy by Michal Znaniecki, commissioned for the Warsaw Opera and not yet released.

He was nominated for the Latin Grammy Awards (2004), the Clarín Award for the Figure of Tango, the Ace Awards for Ultramarina Music , the Carlos Gardel Awards (2014) for Best Tango Album, and in 2019 he was distinguished for the Konex Foundation with the Diploma of Merit in the Classical Music Instrumentalist category 2019.

Currently he continues to lead his quintet and is part of the Mainetti – Angeleri Duo and the National Tango Team. He has joined the Astor Piazzolla Quintet again since 2019 assuming the responsibility of main bandoneon player.

Serdar Geldymuradov l Violin

He began his violin studies in Ashgabat, Turkmenistan. He was chosen by international competition to continue his training at the Moscow Tchaikovsky Conservatory and won the international award “New Names” in 1991. He was later concertmaster of the Philharmonic Orchestra and the Symphony Orchestra of the Ashgabat Opera and Ballet Theater. Serdar decided to emigrate to Latin America, accepting a contract to perform in the National Symphony Orchestra of Bolivia, and assuming the chair of violin at the National Conservatory of Music in La Paz. Later he carried out an intense activity as a soloist in various orchestras and chamber groups in Latin America.

In 2008 he began his activity in Argentina, participating in various orchestras including the Camerata Bariloche, the Salta Symphony Orchestra and the Juan de Dios Filiberto National Orchestra of Argentine Music. In 2009 he joined the Philharmonic Orchestra of Buenos Aires and the following year he was selected by competition as soloist and substitute concertmaster of the Stable Orchestra of the Teatro Colón.

At the same time, since he began his residency in Buenos Aires, he joined the world of tango, performing replacements in the orchestras of the main Buenos Aires shows, such as the famous Viejo Almacén. In these tango practices he incorporated the particular idioms of the tango interpretation, following a journey so many times traveled by immigrant musicians who were shaping the cosmopolitan profile of the genre.

He is currently the principal violinist of the Astor Piazzolla Quintet. He was summoned for his great technical solvency as an instrumentalist, for a fundamental role in Astor’s quintets, which gave the violin the greatest lyrical load of the compositions, in melodies generally romantic and even “operatic”. Serdar thus continues part of the tradition of Piazzolla’s violins, which could incorporate classical violinists, such as Szymsia Bajour, or clearly tango players such as Enrique Mario Francini, but always of great virtuosity and expressiveness. Within the Piazzollian aesthetic, which relies so much on the development of the violinist, Geldymuradov prefers the school perfected by Fernando Suárez Paz, perhaps Astor’s favorite in his quintet formations, in whom he finds a gypsy flavor.

Nicolás Guerschberg l Piano

His first formal studies of piano and harmony were carried out with Santiago Giacobbe, a notorious Argentine jazz pianist. Later he perfected in classical piano with the concert player and teacher Fernando Pérez, and in composition and analysis of 20th century music with Manolo Juárez and Laura Baade. In addition, Guershberg highlights, in his training, a tango composition workshop carried out with the pianist and composer Gustavo Beytelman, within the framework of the Buenos Aries Tango Festival (2006), and the contemporary music analysis classes taken with Gerardo Gandini.

He began his professional activity very early in the fields of jazz and tango in Argentina, participating in numerous projects. Significant among them is the creation of the Escalandrum ensemble together with Pipi Piazzolla, in 1999, with a sextet format (three saxophones, piano, bass and drums). The group, in which he acts as a pianist and arranger, developed a style of jazz with strong ties to popular Argentine music. After releasing five albums, obtaining a good impact from the press and the public, as well as two Konex awards, and making numerous international tours, Escalandrum faced the realization of Piazzolla’s works, publishing three albums. The first of them, “Piazzolla plays Piazzolla”, shows a tight handling of the Piazzollian aesthetic, in which the jazz elements implicit in the compositions of the bandoneonist stand out; in the second, they adapted theFour Buenos Aires stations ; and finally, in the third, they covered Astor’s vocal-instrumental repertoire, with the internationally renowned singer Elena Roger. Along the same lines of enhancing Astor’s work, Guershberg assumed the musical direction and some of the arrangements on María Estela Monti’s album “Solo Piazzolla”, in which she interprets Piazzolla’s repertoire of milongas and tango ballads. rescuing some unpublished works.

At the same time, in 2000 he was selected by competition to perform as a pianist in the Astor Piazzolla Quintet, participating in numerous concerts and European tours. Due to his performance with both Escalandrum and QAP, Guershberg was placed at the center of the contemporary tango scene, which led him to participate in numerous projects, accompanying figures such as Susana Rinaldi, Raúl Lavié, Richard Galliano and Jairo, among others.

In 2010 Fernando Suárez Paz summoned him to perform the musical direction and arrangements of his quintet, in which he also joined as a pianist, to accompany Ute Lemper in the show “The Lost Tango”, in which the artist performed the songs by Piazzolla along with his usual repertoire of composers such as Jacques Brel and Kurt Weill, appearing in Europe, Hong Kong and Latin America.

For various works he has received five nominations for the Latin Grammy Awards and four of the albums in which he has participated obtained Carlos Gardel awards, the most important music awards granted in Argentina. In May 2019, he was declared “Outstanding Personality of Culture” by the Legislature of the City of Buenos Aires.

Daniel Falasca l Contrabass

He studied double bass at the “Manuel de Falla” conservatory in Buenos Aires, with the teachers Hamlet Greco and Ricardo Planas. He developed his career as an academic instrumentalist in the Mayo Chamber Orchestra, with which he toured Europe and America, and later in the Buenos Aires Philharmonic Orchestra, in which he performed for thirty years.

At the same time, he has developed an intense activity in popular music, especially in the tango field, in which he began very early in his family environment, integrating the group that accompanied his sister, the notable tango female singer Rosanna Falasca. Later she has performed and recorded with important figures such as Susana Rinaldi, Antonio Agri, Osvaldo Berlingieri, Leopoldo Federico, José Colángelo and the Sexteto mayor, among others. She has also been a member of the quintet of Fernando Suárez Paz since 1996, the last violinist who accompanied Piazzolla and one of her favorites. With this quintet, which was the first sponsored by the Astor Piazzolla Foundation, he played a good part of the bandoneonist’s repertoire. He also participated in the international tours of the renowned dancer Julio Bocca with his show Bocca Tango. In 2017 he was part of the Horacio Romo sextet on a tour to Japan. He is currently a member of the Agri-Zárate-Falasca trio, dedicated to chamber tango, with which he has recorded the CD “Prepárense”, the title of an emblematic tango by Piazzolla, successfully presented in Europe.

In the educational field, Falasca has developed an intense activity of training young double bass players in Argentina and Europe. He is currently the holder of the double bass chair in the Department of Musical Arts of the National University of the Arts. He has been a member of the Astor Piazzolla Quintet as a regular bassist since 2019.

Armando de la Vega l Guitar

He was initially self-taught, later perfecting himself in guitar, harmony and orchestration with Eduardo Criscuolo and in classical guitar with Miguel Charosky. From his professional beginnings, in the mid-1970s, he was linked to different expressions of contemporary tango. He began to participate in the formations of Rodolfo Mederos, a pioneer of the fusions of tango and rock, from 1983 and still collaborates in the projects led by this bandoneonist, who alternates traditional and acoustic aesthetics with other contemporary amplified instruments. With Mederos he participated in numerous tours in Argentina, Latin America and Europe. In 2002 he performed as a guest soloist, together with Mederos, to interpret the Double concert for guitar and bandoneon (Tribute to Lieja), and theNácar Concert , both by Piazzolla, together with the Oviedo Symphony Orchestra (Spain), conducted by Gregorio Gutiérrez.

In 1999 he also joined the ensembles led by the pianist Pablo Ziegler, who had been a member of the Astor Piazzolla quintet from 1978 to 1989, after which he had a prolific career as one of the most original exponents of the New Piazzolian Tango. De la Vega participates with Ziegler in a quintet, various trios and as a duo. He also collaborated with the pianist in two performances of María de Buenos Aires by Piazzolla, in the cities of Bologna and Ravenna in Italy, in 2002, and in Holland, Belgium and Hungary in 2004. With Ziegler’s groups they also performed at festivals of jazz, in numerous editions of the Buenos Aires Tango Festival and on tours of America and Europe.

At the same time, he has performed and participated in recordings with numerous tango interpreters, such as Osvaldo Piro, Antonio Agri, Amelita Baltar, José Ángel Trelles and Pablo Mainetti, among others. He also collaborated in the project of the double bass player Sergio Rivas, who investigated the history of the double bass in tango, translating his results into a CD in a guitar and double bass duo. Her personal vision of classical tango can be seen in the arrangements she authored for the Gorosito-Cataldi-de la Vega guitar trio, with whom she has recorded two albums. His extensive experience makes him one of the most ductile guitarists on the current tango scene. He has given clinics and seminars on guitar in tango in Argentina, Switzerland, Germany, Thailand and various countries in Latin America. He has been a member of the Astor Piazzolla Quintet since January 2020.

– 항국의 여름 VERANO PORTEÑO
– 친친 CHIN CHIN
– 천사의 밀롱가 MILONGA DEL ANGEL
– 항구의 겨울 INVIERNO PORTEÑO
– 고독 SOLEDAD
– 악마를 잡아라 VAYAMOS AL DIABLO
– 상어 ESCUALO
– 악마의 로맨스 ROMANCE DEL DIABLO
– 망각 OBLIVION
– 푸가와 미스터리 FUGA Y MISTERIO
– 항구의 봄 PRIMAVERA PORTEÑA
– 퀸텟을 위한 콘체르토 CONCIERTO PARA QUINTETO
– 아디오스 노니노 ADIOS NONINO
– 천사의 죽음 MUERTE DEL ANGEL
– etc.