“Historias” is the title of the album of Colores de Tango, aka Daria Rossi Poisa and Gianni Ventola Danese. The duo – cello and diatonic accordion – wanted to deal with a complex and deep repertoire, which was able to identify the traits most representative. And that, by interpreting crucial factor out of the more commercial rhetoric, emerge in a new way, in a dynamic that is both synthesis and amplification, characterization and interpretation, revived. How specify the two authors, the work is oriented by the possibility of “interpreting music for tango from the perspective of the meeting to two, which is the essential starting point of the dance in the milonga”. And here comes the reflection on the characteristics of the instruments and, above all, the possibility that these “offer” a new horizon of tango, “the cello, brings with it the strength of the bass lines, singing and virtuoso explained arches , percussion and rhythmic guttural sounds to the bridge. The accordion, the bandoneon diatonic as traditional Argentinean tango with which he was born, leads the sounds torn the bellows, the lyrical sound of the bandoneon, the rich chordal harmonies typical of the tango”. The overall design seems to want to suggest just that, is the possibility to collect – no worries, even with a lightness and innovative necessary in many ways, determined primarily by technical and musical interpreters of the two – the most significant parts of a multifaceted repertoire. Of a repertoire full international and transversal, whose reflections refract on the surface of endless combinations, as well as infinite interpretations. It also seems that the key of the two artists has been above all the will of bouncing between the two poles of the above (synthesis and reverberation), so as to effectively reconfigure not only the language defined in the repertoire in question, but the possibility of his interpretation. Here we pause just because it is the same content of the album that demand it, as well as its overall organization and the selection of the songs that make up the ladder. The style, the sound, the thickness of the two artists clearly defines all the tracks on the album. They, together and played well, help us to understand the possibilities of expansion that can also affect a repertoire made up as follows (and often also called on the historical, cultural, social). On the one hand we have, in fact, some of the most representative pieces of the tango, the authors selected (as mentioned) in a vision that it dries more rhetorical steps, calling at the same time a new space where the great classics (among which stand out above all “Oblivion” and “Libertango” by Astor Piazzolla) are available in a form perhaps more intimate, smaller, but certainly stronger. Regenerated by a test tone that comes from the dialogue between the two instruments. The other side is located a set of relationships interpreters establish with authors as diverse, but they share the comparison with the genre, and some original songs. As for the latter – “L’Amour à Vingt Ans” and “Plaza de Mayo”, both composed by Gianni Ventola Danese, who supervised the arrangements of the album – you can see some elements that emerge more than others, and they become markers of the clear perspective of the musical duo. They are both delicate and defined at the same time, characterized by articulate melodies and above all a very tight rhythmic tension, although in general structures are flat and attention to details of harmonic combinations between the cello and the diatonic accordion. Among the pieces of well-known authors who have ventured in the interpretation of tango, we point “Underground Tango” by Goran Bregovic, “Il Postino” by Louis Bacalov and Sergio Endrigo, and “Tango to Evora” by Loreena McKennitt.
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