Trifilio Tango Trio | Original

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Latin: Tango Classical: Chamber Music Moods: Type: Instrumental
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Original

by Trifilio Tango Trio

Recorded in Buenos Aires, this tango album showcases new compositions by Argentinian bandoneon player Emmanuel Trifilio. His Trifilio Tango Trio (bandoneon, cello, guitar) realizes the seduction and intimacy of Argentinian tango- from a new perspective.
Genre: Latin: Tango
Release Date: 

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  Song Share Time Download
clip
1. Tango Suite No. 1: I. Ezeiza
4:15 album only
clip
2. Tango Suite No. 1: II. Milonga de la Ausencia
5:53 $1.99
clip
3. Tango Suite No. 1: III. Cara O Seca
3:14 $1.99
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4. Tango Suite No. 1: IV. Regreso al Amor
5:46 $1.99
clip
5. Tango Suite No. 1: V. Hasta la Manija
3:51 album only
clip
6. La Sabionda
3:19 $1.99
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7. Glen Echo Park
4:09 album only
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8. Ni Pelota
3:58 $1.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Emmanuel Trifilio, Bandoneon
Devree Lewis, Cello
Diego Diaz, Guitar

Tango Suite No. 1, in five movements, portrays the themes of immigration and distance from home through various musical forms in the tango genre. This work was arranged by myself and Devree Lewis, cellist on the album, as a "concertized" collection of my tango themes for Trifilio Tango Trio's premiere performance at the Embassy of Argentina in April 2015.

I. Ezeiza, named for the main airport in Buenos Aires, describes the chaos of people in transit wishing to reach their final destination. In traditional tango rhythm, the first two themes give way to a solo bandoneon cadenza: a third theme that depicts the feeling of taking off, flying away.

II. Milonga de la Ausencia, is a milonga campera or milonga of the countryside: a slower, contemplative form typically played on guitars. Literally "song of absence," it mourns the awareness of distance and remembrance of things left behind; one can neither move forward nor return home. This track is featured in the new short film Vuelve con Nosotros(2016) by Cabezahueca Productions.

III. Cara o Seca is a simpler, happier theme and returns to traditional tango rhythm. "Heads or Tails," as the title suggests, reminds the listener of a game of chance; everything can change in an instant. A fugue on a tango theme closes the movement, which runs attacca into:

IV. Norte: Regreso al Amor. A canción ciudadana, or song of the city, the fourth movement feels more like a pop song and even demonstrates an influence from the Beatles; the main theme is a simple meditation on love.

V. Hasta la Manija, or “to the limit,” is a fast, danceable milonga as opposed to the milonga campera. One of the oldest tango forms, fast milonga is considered the “mother of the tango rhythm.” This final movement describes the feeling of no turning back: one must go on, and there is freedom found in the inevitability of the next step.


6. La Sabionda is a danced piece, dedicated to my Grandmother: Nelida Allevato.

7. Glen Echo Park is a waltz, inspired by the D.C.'s park of the same name.

8. Ni Pelota, or "without the ball," is a milonga ciudadana. In a past life, I was dedicated to soccer at a deep level. No more, thank God.


All themes in this album were composed in Washington, D.C.

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