WMV Music Web Log

Mike Strand writes some more about Bach and tango:


It may seem odd or irrational to others, but I feel lucky to have found connections between some of Bach’s music and tango. I only felt or sensed the relationships at first, without trying to explain them. I came to realize that the connection is largely a personal notion, not easily shared. But I’ll try.
Beyond the obvious similarity in tempo and the use of the traditional “Western” key signatures and harmony, what is it that makes these Bach pieces and tangos listed below sound similar? (The tangos can be heard on www.todotango.com.):
1. El amanecer –
Roberto Firpo; Roberto Firpo 1928
2. A la gran muñeca –
Jesús Ventura; Carlos Di Sarli 1951
3. Fugue No. 2 in C Minor –
(Well-Tempered Clavier, Book II)
J. S. Bach; Jenő Jandó 1993
4. La cachila –
Eduardo Arolas; Carlos Di Sarli 1941
5. Fugue No. 8 in D# Minor –
(Well-Tempered Clavier, Book II)
J. S. Bach; Jenő Jandó 1993
6. Comme il faut –
Eduardo Arolas; Carlos Di Sarli 1951
7. Fugue No. 20 in A Minor –
(Well-Tempered Clavier, Book II)
J. S. Bach; Jenő Jandó 1993
8. Por una cabeza –
Carlos Gardel; The Tango Project 1992
9. Prelude No. 22 in Bb Minor –
(Well-Tempered Clavier, Book II)
J. S. Bach; Jenő Jandó 1993
After all, the tangos here are more like two- or three-part songs, with repetition of the parts (often with melodic if not harmonic variations), while in the Bach fugues, themes (“subjects”) are repeated but not large sections. There are differences in rhythmic or bass emphasis: The tangos tend to maintain deep bass accompaniment and accent particular beats more than Bach does, even though the underlying tempo is the same. Also, the tangos tend to use “signature” combinations of note durations, more syncopation, and less counterpoint.
So what do these tangos share with the Bach pieces? To me, it’s the mood. The tangos may be more melodramatic than the Bach pieces, but the underlying mood is essentially the same. I hear sadness and melancholy, but expressed for the most part with nobility, dignity, grace, and courage - wailing or complaining here and there. The A minor fugue, maybe the most obviously like tango, also expresses anger, I think, but in the context of sadness. You can dance tango to all of these pieces as a means of expressing a feeling of loss or regret with grace and calm. Or you can simply walk slowly and steadily to all of these pieces. The slow, smooth walk is the basis of tango dancing (solo or with partner) and beautiful, if done well – like a panther, gliding, stealthy, with no stomping or bobbing up and down.
About the odd sounds in “El amanecer”, (“Dawn”), a vintage 1928 recording: I can imagine early morning on a farm, with chicks, a cow, etc. Someone has just come back to the farm from a night partying that had not gone so well. I especially like the fact that this particular performance is led by the composer, Roberto Firpo, who is also the pianist. In tangos 2, 4, and 6, the orchestra leader Carlos Di Sarli is also the pianist. Like much of our own popular music (“Blue Moon” pops into mind), these tangos exist in many arrangements and have been recorded by many groups but still maintain their individual identities.
I like the way the piano is used in these tangos, both bass and treble. You may also notice how the melody is often plucked or played staccato for percussive effect – which accentuates the rhythm, adds energy, and contrasts well with the parts where the melody notes are extended (sung fully).
In “Nuestro Señor” I tried to preserve some of the mood of Bach’s original chorus – in this case, not sadness as much as supplication, awe in the face of mysterious grace and power, and incipient hope.
Best regards,
Mike