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Back to the roots of tango
It is a fact well known that when tango was born, it kept changing through the years,thanks to the contribution of different influences and different musical cultures whichhave marked its journey.In Argentina, this happened mostly due to the migratory fluxcoming from Italy.Between the end of 19th century and the beginning of 20th century, millions ofimmigrates sailed away from Naples’ harbour in search of a new life in South America,bringing with them the tradition of Neapolitan song, vehicle of history and emotions.The first immigrants came alone, without their families. Whilst being a large group,they carried melancholy and nostalgia with them. In this state of solitude, the onlymeans of communication was the music, which gave a voice to their souls.Through playing the pianino, the barrel organ, with a hand-operated chime, theybrought the most beautiful Parthenopean melodies to the alleys of Buenos Aires.Being main source of immigration of Italian immigrants in Argentina (nicknamed “Tani”because of the vast majority of Neapolitans amongst hem), the Neapolitans therefore ’contaminated’ the land of tango and influenced that budding music.Afterwards, tango is never going to be the same: Neapolitan Canzonetta will transforminto tango and tango will absorb the Parthenopean musical tradition.
Amongst the newest additions to tango, the most important musicians and composershave been Neapolitan: Vicente San Lorenzo, Vicente and Angel Greco, Pascual Romano, Angel Maria andGerardo Metallo, Ambrosio de Rio, Antonio Albanese, Cesar dePardo, Santo Discepolo,el Tano Exposito and Antonio Scatasso.At the beginning of 20th century, tango, initially born as dancing music, became tangocancion and it was enriched with words expressing emotions.In 1915, the Neapolitan poet Pascual Contours was the first to introduce themes ofhomesickness, of unrequited love, and of the desire for social redemption.Having always been drawn to history of music and of the past, Roberta Romandiscovered the link between these two musical traditions.Having perused through ancient partition and old discs for 78 days, she found lost orforgotten melodies written by Neapolitan immigrants in Argentina, and brought themback to life.From this precise historical and musical reconstruction, project T4N0 was born, aproject whose core is Roberta Roman’s Trio, creating an ideal bridge between Bovio’sand Discepolo’s music and the texts written by Contursi and Gardel.Four cultures are brought together: Italian, Angentinian, Turkish and French.These four different musical sensibilities tune in perfectly with the Neapolitan song ofLucariello (author of Gomorra’s score among many others), which is enhanced by theuse of acoustic instruments.Thanks to the modern and original juxtaposition of rap and mandolin, an instrumentlinked to Neapolitan tradition and already being used in Small tango formations at theend of 19th century, Roberta Roman’s Trio was enriched with contemporary sonoritieswithout losing its connection with the origins of tango.The tone of the mandolin does in fact merge with the melancholy of the bandonéon’schant.Today, with the current means of communication, one doesn’t need a dangerousmigration across the oceans in order to spread new musical languages; the roadscirculate on the network, on the web, very quickly, and the contaminations betweenmusical genres are extremely topical.T4N0 explores new way; it is a brave experimentation key to fully comprehend thelongevity of tango, which is capable of changing and renewing itself according to thetimes without ever losing touch with its roots.The arrangements of T4N0 project have been realised by Vincent Beer-Demander andAlberto Vingiano.
It is a fact well known that when tango was born, it kept changing through the years,thanks to the contribution of different influences and different musical cultures whichhave marked its journey.In Argentina, this happened mostly due to the migratory fluxcoming from Italy.Between the end of 19th century and the beginning of 20th century, millions ofimmigrates sailed away from Naples’ harbour in search of a new life in South America,bringing with them the tradition of Neapolitan song, vehicle of history and emotions.The first immigrants came alone, without their families. Whilst being a large group,they carried melancholy and nostalgia with them. In this state of solitude, the onlymeans of communication was the music, which gave a voice to their souls.Through playing the pianino, the barrel organ, with a hand-operated chime, theybrought the most beautiful Parthenopean melodies to the alleys of Buenos Aires.Being main source of immigration of Italian immigrants in Argentina (nicknamed “Tani”because of the vast majority of Neapolitans amongst hem), the Neapolitans therefore ’contaminated’ the land of tango and influenced that budding music.Afterwards, tango is never going to be the same: Neapolitan Canzonetta will transforminto tango and tango will absorb the Parthenopean musical tradition.
Amongst the newest additions to tango, the most important musicians and composershave been Neapolitan: Vicente San Lorenzo, Vicente and Angel Greco, Pascual Romano, Angel Maria andGerardo Metallo, Ambrosio de Rio, Antonio Albanese, Cesar dePardo, Santo Discepolo,el Tano Exposito and Antonio Scatasso.At the beginning of 20th century, tango, initially born as dancing music, became tangocancion and it was enriched with words expressing emotions.In 1915, the Neapolitan poet Pascual Contours was the first to introduce themes ofhomesickness, of unrequited love, and of the desire for social redemption.Having always been drawn to history of music and of the past, Roberta Romandiscovered the link between these two musical traditions.Having perused through ancient partition and old discs for 78 days, she found lost orforgotten melodies written by Neapolitan immigrants in Argentina, and brought themback to life.From this precise historical and musical reconstruction, project T4N0 was born, aproject whose core is Roberta Roman’s Trio, creating an ideal bridge between Bovio’sand Discepolo’s music and the texts written by Contursi and Gardel.Four cultures are brought together: Italian, Angentinian, Turkish and French.These four different musical sensibilities tune in perfectly with the Neapolitan song ofLucariello (author of Gomorra’s score among many others), which is enhanced by theuse of acoustic instruments.Thanks to the modern and original juxtaposition of rap and mandolin, an instrumentlinked to Neapolitan tradition and already being used in Small tango formations at theend of 19th century, Roberta Roman’s Trio was enriched with contemporary sonoritieswithout losing its connection with the origins of tango.The tone of the mandolin does in fact merge with the melancholy of the bandonéon’schant.Today, with the current means of communication, one doesn’t need a dangerousmigration across the oceans in order to spread new musical languages; the roadscirculate on the network, on the web, very quickly, and the contaminations betweenmusical genres are extremely topical.T4N0 explores new way; it is a brave experimentation key to fully comprehend thelongevity of tango, which is capable of changing and renewing itself according to thetimes without ever losing touch with its roots.The arrangements of T4N0 project have been realised by Vincent Beer-Demander andAlberto Vingiano.
Back to the roots of tango
