Eduardo

rovira
La otra vanguardia del tango
 Eduardo Tango-lovers are good at looking and
listening and some also dance or
Nonetheless, we have taken on the
honourable task of shining a spotlight

rovira
make music, but they rarely read, and on the life and work of Eduardo
they write even less. Which means Rovira, an Argentinian bandoneonist,
that the history of this global music composer and arranger of a highly
and dance style has been only very original persuasion. In the first and
The other avant-garde of the tango poorly recorded. Argentina is its last tango notebook in this series of
birthplace and naturally, the Tango Brutal, we were able to take refuge
dominant language is Spanish, but in the English language domain,
even in the libraries, bookshops and because there were books and articles
antiquaries of, let's say, Buenos Aires, available in that language about the
it still takes a lot of searching to find most famous tango singer Carlos
any literature on the phenomenon Gardel and the greatest tango
that is tango. This makes life extra innovator Astor Piazzolla, although
difficult for the author who wishes even then not that many. In the second
to reveal an interesting fragment of notebook, about the most important
Cover illustration: Oscar Grillo

that barely-unlocked world. Duly classical tango maestro Osvaldo

noted. Pugliese, we were forced to ask the
help of a Dutch musician who had
known Pugliese personally, and even
performed with him: bandoneonist
and music teacher Leo Vervelde. This
time, again, we have had to take
similar measures, now that we have
chosen to feature Rovira, another
tango innovator and related to the
great Piazzolla but different,
fundamentally different.

This time, our guides were the

musicians of tango quintet Sonico
from Brussels, a group which has
dedicated itself to playing and
promoting Rovira's music. Ariël Eberstein
Editor: Rob Bindels and Camilo Córdoba, both Argentinian
Guest editor: Ariël Eberstein expats, were our conversation partners
and we also interviewed the former
Published on the occasion of Festival Tango Brutal for this notebook, about his
Heerlen, The Netherlands, 2019
3
experiences during the Sonico tour in filled with expectations, we are off to Eduardo rovira
his native country of Argentina. meet tango-lovers in Belgium,
Sonico's first album is entitled Eduardo
Rovira – La Otra Vanguardia (2018), which
Germany and the Netherlands.
Because in that respect, too, the Tango
A humble
means 'the other avant-garde' and
which is the basis of our notebook's
Brutal Festival 2019 offers the
première of the Euroregional music worker
starting point. Both gentlemen, collaboration with Brussels (Bozar) and
musicians, put us in touch with five Aken(Tango Corazon).
experts on Rovira, musicians or
musicologists, which has led to this Consequently, both the notebook and
fourth tango notebook becoming the the album will be presented twice: in
first real music magazine containing Belgium on 3 March in Bozar and in
contributions from a number of the Netherlands on 1 May in Schunk in
international authors, and for the first Heerlen. " He electrified tango for the
time in bilingual editions: one Dutch
and one English. Thus armed, and So that the tango lives: here, ici & dort! first time; where Piazzolla
introduced jazz, Rovira
modernized tango with classical
Discography (selection) and contemporary music
Tangos En Una Nueva Dimensión (LP) Tango En La Universidad (LP) elements."
Eduardo Rovira y su agrupación de Trío Eduardo Rovira. EDUL (Universidad
Tango Moderno. Record - 1961 Nacional del Litoral) - 1966

Tango Buenos Aires Opus 4 (LP) La Rosa Blindada (EP)

Eduardo Rovira y su Agrupación de Tango Eduardo Rovira y su agrupacion de Tango
Moderno. Microfón - 1962 moderno. La Rosa Blindada - 1966

Tango Vanguardia (LP) Sonico (LP)

Eduardo Rovira y su agrupación de tango Eduardo Rovira y su agrupacion de Tango
moderno. Microfón - 1963 moderno. Show Records - 1968

Tango De Etiqueta (LP) Que Lo Paren (LP)

Reynaldo Nichele y su agrupacion de Eduardo Rovira y su agrupacion de Tango
Tango moderno. Microfón - 1965 moderno. Global - 1975 CARLOS M. ROSA
4
Can the passion for music be stronger Before the avant garde
than public acceptance? Can the thirst Eduardo Rovira was born in Lanús on
for knowledge and experimentation April 30, 1925 in a working family.
be larger than the hunger for glory His father worked in the then English
that gives the audience applause? railway and his mother, housewife.
Both supported him in his precocious
Very few musicians tango musicians passion: playing the fire. At age 9 he
have taken as much risk and crossed as played as a true teacher and began
many borders as Eduardo Rovira. His playing in children's orchestras such
innovations in tango led even Astor as Francisco Alessio and Vicente
Piazzolla to say "there was a time Florentino. His mother accompanied
that Rovira was more revolutionary him on the two-hour trip to the center
than me." Specialists considered so he could do it. And nothing could
him the counterpart of the author stop this irrepressible impulse. With
of Adios Nonino, especially for his Florentino and his bar brava he played
way of being and acting, expanding on radio Splendid, as a professional
the limits of tango every way that he at ... 11 years! A year later, in 1937, he
could. He electrified tango for the formed his first group, according to
first time; where Piazzolla introduced his own words "a typical quartet with
jazz, Rovira modernized tango with a singer".
classical and contemporary music
elements. He suffered - like Astor - In 1939, and forming part of the
from the indifference of the general group of Florindo Sassone, he made
tango public at a time when the the first tour of his life and, he knew -
decline of the music of Buenos Aires as it is written in his curriculum vitae
as the favorite of the masses started in his own handwriting - the "greatest
at the hands of a giant wave of styles pianist with capital letters given by
that changed the culture not only popular music: Osvaldo Manzi. "
in Buenos Aires but also around the
world. In 1940, at the age of 15, he began to
study harmony with Pedro Aguilar.
However, his work was like a gem He traveled from Lanús to Caseros,
ready to be discovered and to astonish a long way back and forth, to learn
those who have the same curiosity and the techniques that he would later
nonconformity of the so established. turn into his very personal music:
counterpoint, dodecaphonism,
musical forms, composition and
instrumentation.

7
In 1943 he joined the orchestra to Fist steps into the I am not commercial, but I know that to his trade, and because professional
which he had more affection: that of avant garde what I do is worth. Those silences critics admit that Rovira's fingering
Orlando Goñi. He had already been in In 1959 he began writing say so many things that I intuit. But was as perfect as the sound of his
Antonio Rodio's, and over the next 20 arrangements for the La Plata Octet, I know I'm a good musician. Maybe bandoneon was. "
years, he went through other groups, which was the platform on which in they are a little scared ... "
such as Miguel Caló, Osmar Maderna, 1961 he formed the Modern Tango However, that was not the only slight The guitarist Rodolfo Alchourrón,
José Basso, Roberto Caló and Alfredo Association, with which he played that Piazzolla inflicted on Rovira. who was part of Rovira's trio, recalls
Gobbi. His arrangements and his way until 1965. The audacity of his music, The announcer and journalist Oscar in the aforementioned note by Julio
of interpreting showed him as a great the play of his compositions make del Priore recalls what happened Nudler that "there were people for
musician, but there was nothing to him begin to put on the same musical on March 8, 1966: "Once in Gotan, whom Rovira was a god. They cried
foresee the turn that his music began plane as Astor Piazzolla, the other which was a bowling alley that was listening to him. "
to give gradually. tango revolutionary. In that same 1961 on Talcahuano Street, Rovira played.
one of the "encounters" between both It was good, and it was decided to The other avant garde
In 1949 he directed the orchestra that bandoneonists takes place: account bring Piazzolla too. Then, they put "I'm interested in reaching more
accompanied Alberto Castillo; in 1951 Julio Nudler, in a note the two sets. Piazzolla and Rovira harmonic links, new rhythmic
and until the following year, he had wonderful written for the Radar together, which was a good publicity variations, the development of
his own orchestra, but the ephemeral supplement of the newspaper Página stunt. Then, on the day of the debut, phrasing," said Rovira in those years.
nature of these experiences would be 12 when it was 20 years since the Rovira was already there. It was I who And he explained that his main
a characteristic that was repeated in death of Rovira: "in December 1961, introduced them to both. Then, first teachers were Bach, Beethoven,
his career. Rovira had offered a free recital in full Astor played. Rovira was sitting there and Arnold Schonberg, the latter,
lecture in the main hall of the Faculty in the front row listening. And people composer who went through
In 1957, together with the singer of Medicine of the UBA, unfolded are a bit upset because it was the first dodecaphonism, who came to the
Alfredo del Río, he undertook another between the bandoneon and the time they were together. Piazzolla composition of the tango for the first
attempt that did not last long either. piano. Mixed among the students was ends, and Rovira climbs. Then, he time at the hands of Rovira.
That same year, he composed and did Piazzolla. Upon discovering it, they shows up, and Piazzolla left. He could
the orchestration of El engobbiao, began to acclaim him, as a football have stayed a while ... he grabbed and He also introduced electronic sounds,
a tango dedicated to Alfredo Gobbi, platform acclaims an idol. Rovira took them because he had already which are present with all intensity
which surprised by its originality then invited him to the stage and played. Piazzolla was very jealous, in his sonic album, recorded between
and that began to show elements of gave him his bandoneon, in which and this anecdote also paints him October and November 1968. Oscar
what was to come in terms of musical Astor improvised for a few minutes whole body too. " In spite of this, and del Priore, who was the producer
creation. A year later, together with "Los mareados" and left. Rovira then according to Manuel Adet, journalist of that plate, in the book that
the orchestra of Osvaldo Manzi, he resumed his bellows and extended of the newspaper El Litoral, "Piazzolla accompanies the reissue published by
recorded as the first bandoneon a very in long variations on the same tango always considered him a teacher, Acqua Records in 1997, that "for the
particular version of Febril, which he by Juan Carlos Cobián. "Astor always and even admitted that he played the first time in the tango he recorded a
also arranged. Everything was ready ignored Eduardo, but not Astor," said bandoneon equal to or better than group in which all the instruments
for the big jump ... Mabel, Rovira's widow. "He was sad at him, a double recognition, because had electronic amplification. What's
times," he recalled. "How unfair they Piazzolla was not condescending in more, he added a distortion pedal to
are!" He said, "but I'm also to blame. the praises, much less when it came the equipment, which allowed him to

8 9
achieve novel sound effects. " compositional illiteracy. Piazzolla had
Another of his innovations was the sprouted like an oil well, and someone
introduction into the tango technique thought that Rovira could be someone
of counterpoint and -according to else, but they drilled and came out.
some historians- the fugatti, which is And the same happened and happens
generally attributed to Astor Piazzolla. with other Roviras. "
"He used a very contrapuntal
technique. It is a way of writing music The music of Eduardo Rovira is
that is not commonly used in popular also usually attributed to a certain
music. In the tango at the most a loss of "tanguero swing", a minor
counter melody is used ", explains the interpellation with respect to the
musicologist Omar García Brunelli. music of Astor Piazzolla, who had
a greater "body drive". A detail to
However, and after so many years, keep in mind is that, while Piazzolla
his style remains criticized by some studied with Alberto Ginastera and
of the few who know his work. Nadia Boulanger, Eduardo Rovira was
Rodolfo Mederos, also a bandoneon practically self-taught, in spite of what
player, and who had some flirtations was affirmed by Rodolfo Mederos.
with rock being a tango player, And although he played in basements
stated that "I do not like Rovira and for no more than 20 people, his work
I never liked it. Your music does not is still praised and discussed by those
seem sincere to me. It is a forced who know it, which, unfortunately,
modernism, regardless of whether are very few.
you have written a couple of rescue
or even valuable tangos. In any case,
it is not Agustín Bardi. In the years
when the musical avant-garde in
tango emerged, a movement led by
Piazzolla, Rovira was thought of as
another possible pole. But it was the
antithesis. It was not genuine. He had
an academic background and wanted
to move to tango, emulating Piazzolla.
He wanted to embed his erudition in
tango, but without fortune. For me his
works are arid. I prefer a good melody,
made with enough intervention from
the gut, and not because it defends Familypicture Mar del Plata 1946

10 11
 His oeuvre In 1963, the ballet suite Tango Buenos LP: "We were - I remember - having a
The few records that Eduardo Rovira Aires, written by Rovira on the basis of coffee, and I say" che, How long have
could record were published by a book of poems by Fernando Guibert, you not recorded! "I say. "If you want,
independent labels, and were not appeared on a double record of the I'll make you a record. I produce it.
always recorded with the most Microfón label, and in 1963 Tango What happens is that I do not know
appropriate means to capture the Vanguardia, a fundamental album, how much will come out. " And
extreme fineness of their sound, the also on Microfón, where -according to then he says "look, I do not charge
delicacy of their arrangements. In Nudler - "Rovira's creative dispersion you anything. I collect the royalties
spite of this, they are true gems, the reaches the extreme". There he afterwards, do not I ?, the percentage
only sonorous legacy that remains included truly revolutionary themes of sales, but to record it, no. Pay the
of his monumental work, which such as his incredible Monothematic, musicians and let me choose the
is composed -according to his in which -according to the website recording room and we do it. We
manuscript curriculum- by 80 tangos, RoviraxRovira- "the harmonic and recorded it in 4 or 5 days, very late
50 works of chamber music and 25 contrapuntal possibilities that the at night. We started recording at 23,
symphonic works. author has created convenient to something like that, because Rovira
His first longplay is from the Record introduce are exploited". told me that he liked to record late
label. Composed of twelve songs, only because afterwards there was nobody
Eduardo Rovira together with
José Rotulo and four belong to Rovira: Sonic, Febrile, In Triálogo he uses the piano rhythm waiting. I swelled the balls, said
Alfredo del Rio around 1957. Prelude of the Abandoned Guitar and of the concert in Mozart's biggest "sometimes I'm hot playing and we
Tristoscuro, and two to Piazzolla: Köchel 488, and he "trialogizes" want to continue and the shift is over
Tango del ángel and Melancólico the violin by Reynaldo Nichele, the because there are others who come to
Buenos Aires. piano of Osvaldo Manzi and his own record. On the other hand, when you
The other six that are part of this bandoneon. In Serial dodecafónico he reserve your turn at night, you can
album are also tangos of advanced used for the first time in the history pass because there is no one after. "
conception: Rovira refused to of tango, a twelve-tone series as
reinterpret traditional tangos, conceived by Arnold Schönberg. In the twilight of the 60s, he recorded
ignoring "advice" from commercial two more albums: one accompanying
managers and being absolutely From 1965 Rovira formed a trio with with his trio (more Pedro Cocchiararo
uncompromising in their way which he recorded on the stamps La in oboe) to Susana Rinaldi, and the
of feeling the tango, although it Rosa Armored and Edul. For the latter, other, Cantares de Madre, an album
did include renewing tangos of the album Tango in the University, in which he arranged and directed an
traditional composers , like Patético, with his trio. orchestra of camera that accompanied
by Jorge Caldara, and A los amigos, the lyrical singer Susana Naidich
by Armando Pontier, in whose In 1968 he recorded the album Sónio in the interpretation of lullabies of
performance Rovira shows all his skills for Show Records, produced by Oscar different origin.
as a bandoneon performer. del Priore, who remembers how, a
bit by chance, the recording of that

12 13
Eduardo Rovira also participated in on double bass. That they stop it is the Despite the oblivion and ignorance of many,
other record works such as Círculo legacy of a man in the fullness of his the work of Rovira is present thanks to new
Amigos del buen tango (1964), a compositional and sensory faculties. technologies.The lack of re-editions and the
compilation that also included Aníbal high cost of their original long play are not an
Troilo, Atilio Stampone, Reynaldo On November 24, 1979, he performed obstacle to enjoy their music, since on YouTube
Nichele, Alberto Caracciolo and for the last time live in the city of and other Internet sites you can hear it fresh,
Héctor Artola; Valsecitos y milongas Azul, Buenos Aires, with the news classic and modern as it was more than 4 decades
(1964) in which he participated as a that, for the first time since Alfredo del ago.The questions asked at the beginning of
composer, arranger and director, along Río's time, a voice was included, that the work can find a logical answer or not, but
with Fernando Romano on double of the singer Elda Juárez. The lyrics the fruit of their passion exists.This work is
bass, Reynaldo Nichele on violin and were written by poets such as Alfredo dedicated to his memory and his fabulous music.
Atilio Stampone on piano, all under Villata, among others.
the name of Lorenzo Quartet.
Eduardo Rovira suffered a heart attack
His last years while walking down the street and
In 1970, Eduardo Rovira settled in died at the Hospital Gutiérrez de La
Tolosa, La Plata, city beloved for him Plata on July 29, 1980.
since the years of the Octet. There
he began to make arrangements
and instrumentations for the Band
of the Buenosairean Police, which
gave him the possibility of having a
salary that assured him a dignified
life. He also composed symphonic
works and camarísticas, and was a
teacher of Theory and Solfeo in the
Aguirre Institute. During the Cámpora
government he directed the Teatro
Argentino.

Finally, in 1975 he returned to the

album on the Global label with Que
Hallo and El violin de mi ciudad.
In both he was accompanied by
Reynaldo Nichele on violin, Oscar
Mendy on piano and Néstor Mendy
Eduardo Rovira and his Orquesta

14 15
16
CHRONOLOGIE
1945 He was a member of Osmar Maderna’s orchestra. 1955 Returned to Argentina and played in the Malerba
1925 Born 30 April in Lanus (Buenos Aires). Parents: Musicians included bandoneonists Leopoldo Federico, José orchestra.
Eduardo Marcial Rovira and Pilar Gutierrez. Cambareri, Felipe Ricciardi, Ernesto Franco, Jorge Luongo, 1956 Was a member of Alfredo Gobbi’s orchestra and
1931 Began the study of music theory, solfège and bandoneon José Libertella, Oscar Bassil, Mario Corti, Carlos Cesar Díaz, recorded the Engobbiao.
with Francisco Alessio. Luis Stazo, Luis Pisani and Elbio Garbuglia. Violinists were 1957 Recordings of own orchestra together with Alfredo
1934 Made his debut as first bandoneonist of ‘la Orquesta alternately José Natalio Nadalini, Aquiles Roggero, Angel del Rio. Musicians: Osvaldo Requena, Aquiles Aguilar and
infantil de Francisco Alessio en el Cafe Germinal’. Bodas, Arturo Cipolla, Edmundo Baya, Aroldo Ghessaghi and Alfredo del Rio.
1936 Performed professionally with Vicente Fiorentino Alfredo Cristali; Nestor Tisera, José Barano, Rufino Arriola 1958 Released single ‘Madre de los cabellos de plata’ with his
(Radio Splendid and neighbourhood associations). and Walter Dujefiesken played double bass and José Gianneo own orchestra together with Jorge Hidalgo and José Berón.
1937 Formed his first ensemble: El Cuarteto tipico. played cello. 1959 – Played briefly in Osvaldo Manzi’s orchestra where he
1939 First national tour with Florindo Sassone’s orchestra 1946 – Military service in La Montada, something which worked together with Reynaldo Nichele.
- He met Osvaldo Manzi. prevented him from joining Anibal Troilo’s orchestra. - Worked as arranger for Octeto La Plata. Singer Juan Carlos
- He began bandoneon studies with Francisco Requena. -On 22 June, his first son, Carlos Eduardo Rovira, was born. Ousset.
1940 Began to study harmony, counterpoint and composi- 1947 – Worked together with Juan Esteban Martinez (Pi- Musicians: Reynaldo Nichele, Leopoldo Soria, Ernesto Citon,
tions with Pedro Aguilar and continued to do so until Agui- rincho) and lived in Montevideo that year. Hector Ojeda, Mario Lalli, Quique Lanoo and Fernando
lar’s death. - Met Julio Sosa. Romano. Leader Omar Rufino Luppi
1941 Joined Antonio Rodio’s orchestra. Musicians: Hector 1948 – Led the Alberto Castillo orchestra until 1951. He - At the end of the year, formed ‘Los Cuatro/El Grupo’
Stamponi, Carlos Parodi, Antonio Rios, Titi Rosi, Mario recorded albums (1949-1951) and films. ensemble with Osvaldo Manzi, Kicho Diaz and Silvia del Rio.
Demarco, Luis Bonnat, Tomas Cervo, Juan Jose Fantin, - On 4 June, his second son, Jorge Luis Rovira, was born. The original singer was Nelly Vazques.
Maximo Mori, Jaime Gosis and singers Alberto Senra and 1951 – Worked as a pianist in Roberto Caló’s orchestra. 1960 - Eduardo Parula became Eduardo Rovira’s promoter,
Mario Corrales. - On 17 December, his father, Eduardo Marcial Rovira, died. together with “Circulo Amigos del Buen Tango” (Circle of
1943 Was a member of Orlando Goñi’s orchestra – with 1952 Started his own orchestra (14 musicians). They Friends of the Good Tango).
arrangements by Argentino Galvan and Jose Maria Artola. performed on Radio Splendid. - Formed the groups ‘Agrupacion de Tango Moderno’ (ATM)
Musicians: Antonio Rios, Roberto Di Filippo, Luis Bonnat, Musicians: Jose Luaces, Juan Carlos Fabri and ‘Los Solistas del Tango’ (ST) until 1967.
Rolando Curcel, Jose Amatriain, Antonio Blanco, Emilio 1953 Took his only international trip to Portugal and Spain 19611 December: first presentation of ATM in the audito-
Gonzalez, Domingo Donaruma and singers Francisco Floren- with his own formation (2 years and 3 months) until 1955. rium of the Faculty of Medicine. At one of the performances,
tino, Antonio Rodrigez Resende, Osvaldo Cabrera and Raul 1954 – Made his debut in the ‘Miami’ in Lisbon and ‘La Astor Piazzolla was discovered to be in the audience. Piazzolla
Aldao. Parrilla Rex’ in Madrid, after which he moved on to Barce- improvised a few themes before he left.
1944 He was a member of Miguel Caló’s orchestra. Musi- lona. -LP Tango en una nueva dimension’ Label Microfón.
cians: Domingo Federico, Armando Pontier, Carlos Lazzari, - He returned to Barcelona without an orchestra. He then Musicians: Hugo Baralis, Ernesto Citón, Héctor Ojeda,
Julian Plaza, Jose Cambareri, Enrique Francini, Antonio went to France in a desperate attempt to study in Paris. Astor Mario Lalli, Enrique Lannoo, Fernando Romano and Leopoldo
Rodio, Nito Farace, Areil Pedernera and Juan Fassio and sing- Piazzolla was studying with Nadia Boulanger at that time. Soria.
ers Raul Beron, Alberto Podesta and Raul Iriarte.

17
1962 - June: Aula Magna of the Faculty of Medicine – First - Was awarded the prize of ‘Honor de Belas Artes’ for his 1970 – First prize: Category C awarded by the city of
performance of Suite Buenos Aires. Second Symphony Concertante, by PI Calderon. Buenos Aires.
- LP Tango Buenos Aires Opus 4. Label Microfón 32/33. - 21 July: opened his own tango venue ‘Tango 66’. Perform- Work: 20 preludes for piano.
Musicians: Hugo Baralis, Ernesto Citón, Héctor Ojeda, ers included Mercedes Sosa and Goyeneche. 1971 - August: series of concerts in Teatro Regina.
Mario Lalli, Enrique Lannoo, Fernando Romano and Leopoldo - 25 September: première of ‘Concierto Opus 20 Nr.1 para - Moved to Tolosa, La Plata, in the province of Buenos Aires.
Soria. Oboe y Cuerdas’. Soloist: Pedro Cocchiararo. - First prize FNA and Ministry of Culture of the province of
1963 - 4 December: presentation of the album Tango Van- - 1 October: Gotán relocated to Seeber Passage. Buenos Aires.
guardia in Teatro Santa Maria del Buen Ayre. - 27 October: ‘Tango 66’ closed down. Work: Sinfonia concertante Nr.5.
- LP Tango Vanguardia. Label Microfón. Production: “Cir- - LP Tango en la Universidad. Label Edul. 1973 - Director of Teatro Argentino de la Plata, chairman
culo Amigos del Buen Tango” (Circle of Friends of the Good Musicians: Fernando Romano, Rodolfo Alchourrón and Pedro of Campora.
Tango). Cocciararo. - EP Todo con cuerda, conducted by Alberto Epelbaum with
Musicians: Reynaldo Nichele, Ernesto Citón, Mario Lalli, - Single A Roberto Arlt, Label La Rosa Blindada. arrangements of four of Eduardo Rovira themes.
Enrique Lannoo, Fernando Romano and Osvaldo Manzi. Musicians: Fernando Romano and Rodolfo Alchourrón. Musicians: Domingo Rulio and Arturo Schneider (fl), Oscar
- LP Valsecitos, rancheras en milonga’s. Label Microfón. - Single ‘Susana Rinaldi sings in the style of Eduardo Rovira’. Cardoso Ocampo (pn), Oscar Alem (cel), Domingo Cura
Musicians: Reynaldo Nichele, Fernando Romano and Atilio Label Madrigal. (bo) and Enrique Mario Francini (vl).
Stampone. Musicians: Rodolfo Alchourrón, Fernando Romano, Pedro 1975- 31 October: presentation of the ‘Contemporary Tango
1964 - LP (Single) Circulo Amigos del Buen Tango. Label Cocchiararo and Susana Rinaldi. Group’ in Cine Teatro Avenida.
Microfón – Various composers. -Single Tango de Música a lo ejos. Label Gente de Buenos - LP Que lo Paren. Label Global.
- May: started working in Caño 14 of Atilio Stampone. Ac- Aires. Musicians: Reynaldo Nichele, Oscar Mendy and Néstor
companied Goyeneche. Recordings of poems by Luis Luchi with Eduardo Rovira on Tucuta Mendy.
- 19 September: Eduardo Parula died. bandoneon. - LP never published. According to Carlos, it was recorded
- He founded ‘Gente de Tango’. Musicians: Luis Sierra, 1967 – Began to work as musician and arranger with the later.
Nelida Rouchetto, Enrique Francini, Osvaldo Manzi, Alberto police band of the province of Buenos Aires. -LP Reynaldo Nichele quarteto con Eduardo Rovira.
Caracciolo etc ... -EP Atencion de Quimica Argentia. Musicians: Reynaldo Nichele, Néstor Tucuta Mendy and
1965 27 September and 5 October: poetry-music perfor- 1968 From 23 August to 14 October LP Sonico. Label Oscar Mendy.
mances together with Luis Luchi. Records, producer Oscar del Priore. 1978 Appointed member of the ‘Asociacion de Docentes de la
- 25 November: inaugurated Juan ‘Tata’ Cedron’s venue: Musicians: Nestor Mendy and Salvador Drucker. Direccion de menores y familia’ (Association of teachers).
Gotán. 1969 - 30 October: settled in the city of La Plata. 1979 - 24 November: last concert in the city of Azul.
- LP Tango de Etiqueta met Reynaldo Nichele en zijn Agru- - First prize for Chamber Music for Piano, from the city - Reportage by Sergio Pujol (Radio Provincia).
pacion de Tango Moderno. Label Microfón. Eduardo Rovira: council of Buenos Aires. Work: twenty preludes Intersemi- - Second heart attack.
arrangements. Musicians: Atilio Corral, Rodolfo Mederos, tonales. 1980 29 July: third heart attack. He died in Tolosa (La
Fernando Romano, Atilio Stampone and Reynaldo Nichele. - Work: Tango Concertante in Theatre Colon, led by P.I. Plata).
1966 - 8 March: ‘Noche del Encuentro’, Astor Piazzolla and Calderon (according to Jorge and Carlos).
Eduardo presented themselves in Gotán.
Eduardo Rovira and I When Eduardo Rovira created his
‘Agrupacion de Tango Moderno’
that Mejía, who was in charge at that
time, gave orders to destroy the master
genre in 1960, with a form and tapes of existing tango recordings.
the cultural and social features unheard of until then, he
was going through a very difficult III At the same time, Argentinian

context of his time time. The large tango orchestras had

started disappearing from the mid-
folklore, which had started in the
1950s and greatly influenced audience

(1960 - 1975)
1950s, for a variety of reasons, one of tastes in the large cities, was gaining
which was that it was not financially in popularity by organising festivals in
feasible to employ a large number various provinces. We should also bear
of musicians and another was that it in mind the rise of what were known
was increasingly difficult to organise as 'peñas' (venues where musicals were
performances. This led to smaller performed and where traditional food
formations being set up, such as was served) which served to reinforce
Quinteto Real, Sexteto Mayor and the worldly character of the music.
bandoneonist Anibal Troilo's quartet. However, rather than the traditional
Even in the 1960s, tango seemed to view of the genre, they began to
have signed its own death certificate. create a new sound, driven by young
artists and designers who provided an
II The audiences began in turn to impulse for aesthetic innovations both
prefer the popular genres, promoted in musical and poetic terms. These
in particular in the media by musical forms were incorporated
multinational record companies. One into what was known in the region as
sign of this was the rise in television 'Nueva Canción Latinoamericana’.
shows such as 'Club Clan', in which This ‘Música de proyección folklórica’
American recording label RCA Victor or ‘Música Popular Argentina’ (MPA)
showcased new artists and drew on as it was known was similar to what
modern aesthetic criteria, influencing was happening with popular music
young people's taste in music. in Uruguay and Brazil. Vocal groups
Ecuadorian director, Ricardo Mejía, such as Los Huanca Huá, Cuarteto
artistic manager of RCA's Argentinian Zupay, Grupo Vocal Argentino and
subsidiary, wanted this to compete Los Trovadores created complex
with the rock and roll market from polyphonic vocal arrangements of
the United States of America. This folk songs. In the field of instrumental
music scene was called 'Nueva Ola' music, pianists and composers such
in Argentina and in order to give it as Waldo de los Ríos, Manolo Juárez
carlos salatino a boost, and to prevent other genres and Eduardo Lagos led the way
getting in the way of its goals, it is said when it came to adding elements of

18 19
19
contemporary music and jazz to their V The ‘Torcuato Di Tella de Buenos Eduardo Kušnír, Francisco Kröpfl, were those who dared to take up this
work. Aires’ institute was founded on 22 July Gerardo Gandini (founder of ‘el Grupo challenge, such as bandoneonists
And at the same time, in the 1958; it was dedicated to carrying out de Experimentación Musical del Rodolfo Mederos, Aníbal Binelli en
province of Mendoza (to the west cultural research. It consisted of several Centro’), Graciela Paraskevaídis and Juan José Mosalini.
of the Argentinian territories), ‘El gallery areas and concert halls and was Mariano Etkin developed a musical But a new protagonist appeared:
movimiento del Nuevo Cancionero’ a creative space dedicated to all the avant-garde with experiments which rock. One number, 'La Balsa' by the
was set up, led by Mercedes Sosa, poet arts. attracted many musicians from the group Los Gatos, has been a hymn
Armando Tejada Gómez and Oscar Artists such as Antonio Berni, Jorge de region, including Coriún Aharonián for the young generation exploring
Matus. This group strengthened the la Vega, Rómulo Macció, Luis Felipe from Uruguay, Marlene Migliari the boundaries of music, since 1967.
development of the music and poetry Noé, Gyula Kosice, Julio Le Parc, Fernandes and Jorge Antunes from The closest equivalent would be the
of marginalised individuals such as Jorge Pérez Celis, Rogelio Polesello, Brazil, Iris Sangüesa Hinostroza and Beatles, who also used experimental
Atahualpa Yupanqui and Buenaventura Antonio Segui, ClorindoTesta, León Gabriel Brnčić Isaza from Chile, Mario elements and refined letters and
Luna and fuelled the creation of a Ferrari, Mercedes Esteves, the group Kuri-Aldana from Mexico, Peruvian sounds. Argentinian rock, or
national and popular music which of informal instruments ‘Les Luthiers’, Edgar Valcárcel and Bolivian Alberto progressive music, such as prevailed in
embraced both tango and folklore. Iris Scaccheri, Roberto Villanueva and Villalpando. 1970, became a means of identifying
Carlos Squirru, to name but a few, Important international composers yourself with your origins: the city,
IV Argentinian jazz was enjoying great walked the halls of this institute. and theorists (Olivier Messiaen, Aaron the street, the daily experiences and
respect from its fans at the time, thanks They flourished most in the second Copland, Luigi Nono, Umberto Eco) the urban philosophy. And in a similar
to major artists and composers such half of the 1960s. The cross-over visited the CLAEM to give lectures and way to jazz, the genre became a kind
as Enrique ‘Mono’ Villegas, Alberto characteristics of their artistic activities seminars. Eventually, the centre was of sponge which absorbed the air of
Favero, Lalo Schifrin and Rubén ‘Baby’ meant that they were constantly being forced to close down, due to lack of the city of Buenos Aires, at least in
López Furst, guitarists Oscar Aleman, watched by the actual government of financial resources. It left behind an the first half of the decade, thanks
Oscar López Ruiz, Walter Malosetti General Juan Carlos Onganía, which experience that could never again be to the songs of Nebbia (Los Gatos),
and Rodolfo Alchourron, double ultimately closed down the institute in reproduced at the same level in terms Javier Martínez (Manal), Luis Alberto
bass player Jorge Lopez Ruiz and 1970. of quality. Spinetta (Almendra) and of singers
saxophonists Leandro ‘Gato’ Barbieri, Eduardo Rovira worked at the Instituo and composers such as Moris and
Hugo Pierre and Horacio ‘Chivo’ di Tella, the Latin American Centre VI During the early 1970s, Argentinian Miguel Cantilo (of the duo Peter and
Borraro. for Music Studies (CLAEM) between folk music and folklore retained its Paul together with Jorge Durietz).
However, the genre was still too 1961 and 1971. Led by Maestro connection to its audience thanks to
attached to the styles that resulted Alberto Ginastera, the CLAEM quickly the large festivals organised in many VII After the government of Juan
from the exchanges with America positioned itself at the forefront provinces. The folklore movement, in Domingo Perón was overthrown
musicians who performed in of worldwide research into new turn, immersed itself increasingly in in 1955, the decades of the 1960s
Argentina. It was not until the early musical forms. In 1967, the Electronic a new approach which clashed with and 1970s were characterised by the
1970s that Argentinian jazz began to Music Library was inaugurated the music's traditional roots. The tango continued disruption of democratic
incorporate a few stylistic elements with equipment made by engineer was faced with the choice between governments by means of coups (in
which mainly originated in folklore. Fernando von Reichenbach. sticking to nostalgia or taking a leap 1962, 1966 and 1976). This situation
During that time, musicians and into the avant-garde, following the resulted in oppression in society and
Argentinian composers such as lead of Piazzolla and Rovira. There education which ranged from political

20 21
21
persecution and censoring to the Mendy. It had been fifteen years since
civil military dictatorship installed in he had founded Agrupacion de Tango
Argentina in 1976, opponents of which Moderno.
simply disappeared from the face of
the earth. Culture became a haven and Maybe he decided to ban himself
a vehicle for resistance. and his music. Or maybe he realised
Despite this oppressive situation, many that had been lucky to be have been a
artists were involved in a creative part of three decades of our country's
process, below the surface, constantly vibrant and unique culture. If that was
searching for their own identity. It the case, then he naturally did it as he
happened at that time with folklore, always did things: in his own way.
with rock music sung in Castilian and
with new expressive possibilities,
formulated by Astor Piazzolla through
the tango, and by Eduardo Rovira
and Juan Carlos 'Tata' Cedròn and his
quartet.
By coincidence, it was in the venue of
the latter, called Gotán, located in the
heart of the city of Buenos Aires, that
Piazzolla and Rovira met each other
on stage for the first and only time. It
happened on 8 March 1966, according
to journalist and writer Julio Nudler,
who witnessed the encounter.

VIII The civil military coup that took

place in 1976 created a wound that
sadly still bleeds in the collective
memory of Argentinians. There
were endless blacklists drawn up,
persecution increased, and many artists
had to flee the country.
A year earlier, in 1975, Eduardo Rovira
had published his latest album, Que
lo paren, together with violinist
Reynaldo Nichele, pianist Oscar
Mendy and double bass player Néstor

22 23
Music with a lot of When did you learn the music of
Eduardo Rovira?
the sudden and constant changes
of mood. His music was incredible
eclectic and these constant changes of
brains but without Somewhere at the end of 2014 I
discovered Eduardo Rovira. Actually
ideas could bring the listener to a very
different universe in a short period of

lack of passion I discovered his music without really

looking for it. At that time I had a
time: Bach, Bartok and Schönberg. All
was there!
friend who was a singersongwriter, The sonority of the trio formation
he was talented and creative but he with electric guitar, bass and
didn´t have the skills to bring his bandoneon was something different
project on a professional way, that's to me as well. But one fact I discovered
why we decided to form a group for much later was that each of his three
him. Together with other friends, we formations (trio, quartet and octet)
wanted to help him to develop his had its own personality, almost its own
music. Besides my singersongwriter style.
friend, the group was formed by a
guitar player, a bandoneonist and me How could you put into words the
on double bass. To make the concerts essence of his tango compositions?
more interesting, we thougth that
it could be a good idea to add some The essence of Rovira’s music is
instrumental music as well. Searching that it is music with a lot of brains,
for music for this formation I came intellectual, but that doesn’t mean
across the album Sonico by Eduardo there is a lack of passion. A highly
Rovira and it blew my mind! After that educated popular composer that looks
I began to search more information to other genres especially to classical
about him and I started to enter the composers like Beethoven and Bach,
world of Rovira’s music. but also to the avant-gardists of his
time like Stravinski. He developed
What is so special about it? his own languague with all these

Interview with The first thing I found amazing was

influences. His music is a real search
where the combination of elements
to discover that there was a different brings us to something completely
Ariël Eberstein revolution in the tango than the one of new. It´s not fusion, it’s just Rovira.
Astor Piazzolla. I thought that Piazzolla
founder of the was the only one who dare to change
tango at that time.

quintet Sonico What really took my attention,

regarding Rovira's ‘tango nuevo’, were

24 25
Why has he stayed so relatively We knew worldwide the vanguardia Isn’t Rovira what you could call a different formations too, but he is
unknown? You can hardly get any of by Astor Piazzolla. In what way differs ‘musician’s musician, compare it with mostly known for his quintet. Its
his music on CD. Piazzolla’s tango music with that of a ‘writer’s writer’? really hard to choose one piece or
Rovira? album. The complexity and variety
His last albums has been re-edited a Rovira is a composer who is loved by in the music of Rovira makes it quite
couple of years ago, but he still didn't Eduardo Rovira was totally different a lot of great musicians because he difficult... Nevertheless, Rovira’s magic
receive the recognition his music from Piazzolla and we are not only was idealistic about how he wanted can be best seen on the album Sonico
deserves. Anyhow, I believe that when talking about their tango innovations. to develop his musical career: ‘no where he experiments with different
you compare Piazzolla’s success as a Rovira was introverted and compliant compromises’. He was a little bit of an sonorities in tango with only a trio,
musician and composer to whatever while Piazzolla loved a good underdog of tango and the underdog real modern revolutionary sonorities
other musician in that period, controversy. Regarding the music, both has always our sympathy because that where he even inclued electronic
everybody seems to be unknown. started at the same point, the golden is what we human beings do: we have effects like a wah-wah pedal.... even
More to the point, I think that the age of the ‘orquesta tipicas’, but in sympathy for the weakest. Of course before Jimy Hendrix! This album
main reason why Rovira’s music is the end each creative search follows a this is related to a quite subjective (Sonico) from 1968 is characteristic
unknown lies in his own personality. different destiny. concept called success. So yes, he for our group, not only because
He was not really into trying to get Each formation in Rovira´s musical is a figure of admiration by other it carries our name but also for its
good deals with labels; he was not a big career has a different identity. He has musicians. He was also quite successful revolutionary features. Here you’ll find
fan of promotion, his priority was to built his musical identity through the during his traditional tango period. a lot of interesting elements, some of
compose. Piazzolla was the opposite, musical ‘collage’, which makes him He composed and arranged for Alfredo them for the first time in tango history,
he was very extrovert and knew the less recognisable at first. Another Gobbi, worked with Miguel Calo such as: polyrhythmics, different kinds
game of how to promote himself, innovation was the introduction of among others. of rhythm at the same time, fantastic
together with an international network contrapuntal techniques, electronica Even during his first experimental bandoneon solos and also often
that started in his childhood when he and fugues, usually attributed to period he made many recordings. He sudden and surprising changes in
lived in New York. He also had to suffer Piazzolla. The few albums that Rovira may not be popular among the general moods by big contrastic parts during
the lost of his manager Padula, a former was able to record, were published by public but that has to do with other the pieces.
Piazzolla manager, who was bringing independent labels and they didn´t factors like his personality, his early
him on the good path during the 60´s. have the same financial support as death, and so on.
Before he died he recorded almost Piazzolla had during his career. Due to
every year. Another reason could be the the bad technical conditions and the Which album or which special tango
fact that Rovira´s scores are still difficult low budget, Rovira´s albums have not composition shows us the magic of
to find and the quality of his recordings always been able to capture the finesse Rovira’s music the most?
is not amazing. To play Rovira you need of his sound and the delicacy of his
to assume a couple of challenges, his arrangements. This is a difficult question because
music is very demanding (there are not Rovira never stayed in one place,
many bandoneon players who dare to he was an innovator and one of his
play it), you need to "compete" with trademarks was to change constantly.
other groups who plays Piazzolla and He changed the formations in which
the list goes on... he played all the time. Piazzolla had

26 27
Your quintet Sonico has been group tried to save the music of Rovira. Belgium, Bozar, during a new concert During the 2017-18 season Sonico
specialized in playing Rovira’s We got around fifty interviews in the series called ‘100 years of Tango’, as took part in several festivals, including
tangomusic: it has resulted in an main Argentinian newspapers and on the only European group invited. We ‘United Music of Brussels’ and the
album which has been titled La otra the radio, we did thirteen concerts will share these concerts with some of Brussels Jazz Festival in Flagey. Sonico
vanguardia: what do you mean by that in three weeks and finished playing the big shoots in tango like Horacio also participated in the inauguration of
title? on the Tango Festival BA in a sold out Salgan´s Quinteto Real, the project the exhibition on Belgium emigration
hall. This is the most important Tango Escalandrum by Astor Piazzolla’s to Argentina called ‘Een Beetje Belg’ at
It is quite simpel, Astor Piazzolla has Festival worldwide and we were the grandchild and one of the new tango the Red Star Line Museum in Antwerp.
had a huge success, worldwide, with first Belgium group to perfom there. innovators, Juan Pablo Navarro. We will
his music and in the eyes of most Regarding the public, a lot of Rovira's play for the first time in four different In Januari 2018 Sonico recorded its
people that was the (only) avant-garde fans came. Aficionados who waited new countries such as Holland, first album at the National Opera of
of tango. We try to show the public forty years to hear this music live Luxemburg, Italy and France, which Belgium in Brussels and later on, in
that it was not the only one bringing again, some former Rovira's musicians, is a huge thing for us, because we are July and August 2018, they went on
new innovations in the tango genre, family and friends as well. They were trying to bring this story to as many tour to Argentina, in order to present
there was another avant-garde, and all thankful for the job we have done. places as possible. this material. The tour consisted
that was the music of Eduardo Rovira. We really could not expect more of of thirteen concerts in the most
Rovira was as revolutionary as Astor this tour. prestigious halls of Argentina. The
but his revolution was just different. Sonico started at the end of the season European release of Eduardo Rovira:
Rovira put attention to other aspects Do you have more plans to promote 2015-16 with a sold out concert at the La otra vanguardia will take place in
and that's the interesting story behind the music of Rovira? ‘Schaerbeek Laat’-festival at the roof March 2019, at Bozar.
this master. Even when a revolution of a skycraper, later on we began
was happening (Piazzolla), he dare to Yes, we have a lot of ideas, some of the 2016-17 season with a concert in
think differently. I don´t know many them in pre-production. There is the Galeries Royales Saint- Hubert
cases like that in history.... Maybe the still repertory to record and there in the center of Brussels. More than
big lights of Piazzolla’s success didn't are still some formations that Rovira thousand guests attended! Also during
allow the public to see that another had which we have had not the this season Sonico was featured in
change was happening in Buenos Aires opportunity to play, like the octet. the first episode of the show Culture
at the same time. There are a couple of things we are Club, hosted by Bent van Looy and
developing rigth now, but I cannot Sofie Lemaire at the Belgium television
You have made a tour in Argentine: talk about them yet... Some others like network Canvas. This was our tv debut.
how did the audience reacts to you and the collaboration with contemporary
to Rovira’s music? dance choreograph Lisi Estaras and
Ido Batash for a dance creation with
The tour in Argentine was a huge Rovira's music are already planned to
success and a great surprise to all of us. be premiered in 2020.
The reaction of the public, media and On the short term, we are going to
colleagues was amazing! The media launch our album on vinyl format at
were very curious about why a Belgian the most prestigious concert hall in

28 29
 Eduardo rovira
Sonico in Buenos Aires during their first Argentinian tour

Reconstructing a
Musical Legacy

"Our primary goal in creating

Sonico was to perform the
music of Eduardo Rovira, and
not to arrange it; transcriptions
were our method of choice. "

Stephen Meyer

30 31
On 29 July 1980 in La Plata, Argentina, course of a conversation about tango Once we had made the decision to and recordings of Rovira’s albums.
the great tango nuevo composer nuevo, the names Eduardo Rovira and form an ensemble, the following We were fortunate to have access to
Eduardo Rovira died of a heart attack Astor Piazzolla were mentioned, and step was to consolidate the group by a large number of Rovira recordings:
at the age of 55. Though his name idea was formed: to create a group adding members. It was essential to all of the published albums as well as
and reputation have lived on in that would perform Eduardo Rovira’s find an excellent (electric) guitarist, a number of unreleased recordings.
Argentina since his untimely death, compositions, more specifically one with experience in a number of That way, we were well aware of the
his legacy has been largely and in all of the different instrumental styles: jazz, tango, classical chamber complexity and diversity of Rovira’s
undeservedly forgotten, especially combinations for which Rovira wrote music. Ariel contacted the Brussels- compositional output before obtaining
on an international level. Rovira, (mostly trio and quartet, but also based guitarist Patrick de Schuyter, any scores from which we could play.
for whom the pursuit of intellectual larger formations such as septet, octet, who then joined the group. However, Recovering scores and material from
exploration was always more dectet, orchestra). the newly-formed group didn’t which to perform, however, was
important than fame and commercial yet have a name; we decided upon more challenging. Ariel undertook
success, remains highly respected Why create a group dedicated to Sonico, one of Eduardo Rovira’s the herculean task of contacting
for his distinctive approach to tango: Rovira’s music? There were several most emblematic compositions people who had worked with Rovira
the incorporation of extraordinarily reasons for this idea. The three and the name of his most famous or studied his music, and was able to
sophisticated harmonies and rhythms, of us were all aware of Rovira’s album, released in 1968. Sonico, obtain scores through the generosity
the experimentation with unique contributions to tango and knew that the group, was born as a quartet. of the Rovira family, Oscar del Priore,
instrumentation, the eclecticism of very few people performed his music. Initially, we adapted all of the quartet César Stroscio, Enrique Lannoo, Paula
musical styles ranging from chamber There are a great number of groups pieces, originally written for violin, Mesa, and so forth. All of these scores
music to twelve-tone row to jazz. performing Piazzolla’s compositions – bandoneon, double bass, and piano, were digitalized, through the efforts of
However, with the exception of Trio outside of Argentina, the vast majority for the electric guitar, but soon it Ariel, Lysandre and me.
Esquina’s 1995 album Musiques du of tango music played today is Astor became clear to us that a pianist would
Rio de la Plata, in homage to Eduardo Piazzolla’s – and we wanted to show be an excellent addition to Sonico. Though Ariel was able to obtain many
Rovira, Rovira’s music is rarely that there were other significant Anke Steenbeke joined the group, scores through a variety of sources,
performed, recorded, or celebrated composers of tango nuevo besides and Sonico became a quintet, which the majority of Sonico’s performance
today. Piazzolla. Furthermore, the great is our current formation. After two material comes from transcriptions,
variety of musical styles as well as the years as part of Sonico, Patrick left the made by Lysandre and myself. What is
Enter Sonico. In early 2015, Ariel virtuoso nature of Rovira’s oeuvre group and Camilo Cordoba joined. a transcription and how is one made? A
Eberstein, Lysandre Donoso and I would allow us to flex our stylistic Today, Sonico’s definitive formation transcription is a recreation of the score
performed together at the Brussels and technical muscles, giving us an is as follows: Lysandre Donoso through careful listening to a recording.
Tango Festival as part of a larger exciting – and unique – challenge. (bandoneon), Camilo Cordoba In tango, transcription is customary,
ensemble. Ariel and I knew each other Our main goal, however, was to bring (electric guitar), Anke Steenbeke especially nowadays, since very few
already, having played together for a Rovira’s beautifully sophisticated (piano), Ariel Eberstein (double bass), scores have been published over the
number of years in the orchestra of La music (back) into the spotlight, and me (violin). years, with the exception of piano
Monnaie/De Munt Opera in Brussels; to show our respect for one of the reductions. Eduardo Rovira published a
Lysandre and I had crossed paths in arguably unsung heroes of tango With the name and the group’s number of reductions over the course
the tango department of Codarts, the music. musicians established, the music came of his career, including pieces such as
Rotterdam Conservatory. Over the next: we needed scores to perform, “Febril,” “Sonico”, “Sanateando”, “El
32 33
Sonico in Hotel Ciamberlani by Art Nouveau architect Paul Hankar, Brussels, Belgium. (© Sebastian Forthomme)

general most transcribers follow with our collection of original scores,

the same main steps. Initially, it is our transcriptions now form the basis
necessary to listen to the recording for a steadily growing archive of
to establish tempi, metrical types Eduardo Rovira pieces. Eduardo Rovira
and changes, as well as key changes. may have been overlooked by many in
Many transcribers sketch out a general the years since his death, but now we
outline of the piece, to get an idea of have the chance to bring his music to
nuances such as dynamics, ritardandos the forefront. One of the central tenets
and accelerandos. Then the actual of Rovira’s agrupación moderno de
process of writing down the notes tango was that tango music should
begins. Nowadays, transcriptions be listened to, instead of being an
have become slightly easier with the accompanimental backdrop for
advent of technology; programs such dancing or used as background music.
as Anytune, Transcribe and YouTube
allow the transcriber to slow down the We strongly believe that Rovira
recording while maintaining control deserves to be listened to, to be
over the pitch. Then the transcriber introduced to a wider public. Sonico
uses some sort of music notation hopes to have honored his legacy
software, such as Sibelius or Finale, and to ensure that his music will be
to make a digital score. Perhaps the performed for many years to come.
greatest difficulty is to be able to
hear all of the notes being played, in
particular when there are multiple
instruments playing complex chords
at the same time, such as the piano,
the bandoneon and the electric guitar.
Many times, reconstructing chords can
be a matter of recognizing textures
or specific tonal colors. Also, it is
Engobbiao”, “Taplala” etc. Traditionally, Transcribing is a very laborious and necessary to understand how to write
tango musicians would use reductions difficult process. One of the main for each instrument: for example, the
to make their own arrangement, which difficulties is the recording quality range of the instrument, the clef, the
formed the basis for performance. of many old albums, which – as is notation of octaves, chordal voicing,
However, our primary goal in creating the case with those of Rovira – isn’t and so forth.
Sonico was to perform the music of ideal. Surface and background noises
Eduardo Rovira, and not to arrange make close listening a complicated Lysandre and I have now transcribed
it; transcriptions were our method of task. Each transcriber has his or about twenty Rovira compositions
choice. her own set of techniques, but in and arrangements for Sonico. Together

34 35
36
36
Canarias Jazz (ES), Nishville Jazz (SR), Para Ti

(© Festival de Tango BA)

Latino (BR), among others.
(© Sebastian Forthomme)

He received recognitions from the Ministry of Culture,

declared to be as "Cultural and Artistic Interest" for
his quintet (2012), and declared from the Minis-
try for Foreing Affairs and Ministry of Tourism as
"..part of the national identity of Argentina, being
granted the status of ̈Brand Ambassadors ̈ for the
country.” (2013).

His trajectory as musician includes many different Lysandre Donoso - bandoneon

Camilo Córdoba - Electric & clasical guitar
groups into tango and latin-american music. Was born from a Chilean father and a French moth-
He has studied at E.M.P.A (Buenos Aires - Argen-
er. Thanks to the bandoneon he inherited from his
tina), where he did the Jazz and Tango career studying
Nowadays Camilo is performing also with projects grandfather, he began to be passionate about tango. He
with maestros such as Anibal Arias and "Chocho"
based in Europe and Argentina: “Violentango”, then created his first ensemble “Nonino Quartet”.
Ruiz; he also took private lessons with Javier Cohen.
“Quinteto Ruggiero”, “Sonico" among others.
During the summer of 2010, Lysandre decided to stop
Camilo dabbled into composition with Maestros he
his engineering studies in Grenoble INP and dedicate
specifically select because of their original style: Guill-
himself to music. He took lessons with renowned
ermo Klein and Diego Schissi.
musicians as Víctor Villena, William Sabatier and
Since 2004 he has been part of the "Violentango"
Per Arne Golrvigen. Later, he joined the Tango De-
quintet as guitarist and composer, with which he re-
partment of the Conservatory of Rotterdam (Codarts)
corded 5 CDs, and participate in several international
in 2011, under the teaching of Gustavo Beytelmann,
tours in Europe, North America and Latin America;
Víctor Villen and Leo Vervelde amongst others.
performing at famous festivals such as Glastonbury
Festival (UK), Jazz Park (CO), Cultural Virada
In parallel of his studies, he has been multiplying his
(BR), Savassi Jazz (BR), Vive Latino (MX), Heineken
professional experiences: the Silbando Orchestra, the

Cuarteto El Compás, Roulotte Tango, Roberto Navar- studies he continues improving his musical skills

37
(© Bo Hallengren)

ro, William Sabatier, the Silencio Orchestra directed through masterclasses and private lessons.
by Roger Helou (with whom he recorded the last
album “…todo, menos la canción”), Lalo Zanelli, He has worked with many world-famous conductors
Juan Carlos Carrasco “H”, etc… and has been playing in the most important Belgian
orchestras such as the Vlaamse Opera, National Or-
chestra of Belgium, De Filharmonie, Orchestre Phil-
harmonique de Liège, Opera Royal de Wallonie, De
Munt/La Monnaie and Brussels Philharmonic.
Ariel has given concerts in the most important concert
halls of Europe and America, including the Concert-
gebouw (Amsterdam), Musikverein and the Concer-
thaus (Vienna), Festspielehaus (Salzburg), Cité de la
Ariel Eberstein – double bass Musique (Paris), Bozar and Flagey (Brussels), Polin
Was born in Buenos Aires, Argentina in 1979 and (Warschaw), (London), (Edingburg) and the Teatro
discovered the double bass at the age of 16. In 1997, Colon (Buenos Aires).
he began studying the double bass in Buenos Aires
with Miguel Angel Villaroel. Soon, his commitment Since 2014 Ariel specialize in Tango leading the
to this instrument deliver him in 2002 a scholarship Brussels based quintet SONICO. This project special-
from the Fundacion Antochas (Buenos Aires) to study ized in the oeuvre Eduardo Rovira, a visionary figure of
in Vienna with James Rapport and Andrew Ackerman. contemporary tango often known as “the other Astor
Later on he moved to Belgium in order to continue Piazzolla”. In August 2018, SONICO presented their
his studies at the Koninklijk Conservatorium Brussels first album "Eduardo Rovira: La Otra Vanguardia"
with Frank Coppieters, where he completed his mas- in Buenos Aires as part of the Tango BA Festival as
ter’s degree after an year exchange Erasmus program the main international guest at the festival, confirm-
at the Koninklijk Conservatorium Den Haag in 2010 ing its reputation as one of the most innovative tango
with Quirijn van Regteren Altena. After his formal ensembles in Europe!
38
38
In March 2019, the European release of SONICO’s December 2018. He also performed as part of Mr
album will take place at BOZAR as the only European Otero’s European tour 2017 . In july 2018 Mr.
(© Sebastian Forthomme)

group invited to the new concert series entitled "100 Eberstein got invited by, the world famous pianist,
years of Tango." Martha Argerich to be part of the closure concert at
her newest festival in Hamburg.
At the moment, Ariel Eberstein develops a strong
artistic relation with the choreograph Lisi Estaras. In
juli 2018 They worked together at the Workshoops
from Les Ballets C de la B (Gent, Belgium).
In august 2018, Estara's production “Sapiens Rabia”
at the San MArtin theater ballet (Bs As, Argentina)
counted with a solo double bass recording as part of
the music. Stephen Meyer - violin
Belgian-American violinist Stephen Meyer has been
Their last colaboration, from october 2018, untitled assistant principal second violin of the Théâtre royal
"D-EFFECT for 3 young female dancers, 2 dancers de la Monnaie/Koninklijke Muntschouwberg opera in
with down syndrom and a double bass player" from Brussels since 2007. In 2005, he graduated magna
Paserelle vzw (Kortrijk, Belgium) inclueds Ariel Eber- cum laude from Yale University in the United States,
stein first stage performance experience. where he received a Bachelor of Arts with special hon-
ors in music and in French literature. During his third
In Februari 2017 and 2018, Ariel Eberstein has year at Yale, he had the opportunity to study in Paris,
been the curator-artist of the Tango evening during where he worked with Oliver Charlier at the Paris
the POLIN Festival in Warschaw (Poland) with a Conservatoire in addition to studying French literature
programe that rescue the important role of judaism for at the Ecole Normale Supérieure, rue d’Ulm.
the development of the Tango. After his time at Yale, he returned to Paris, obtain-
Ariel Eberstein recorded Fernando Otero´s (four time ing the Diplôme d’Etudes Musiales Supérieures at the
Grammy award-winner) last album "Ensamble" in

39
Conservatoire Supérieur de Paris-CNR and studying Besides her passion for the classical piano music, Anke
(© Festival de Tango BA)

with Roland Daugareil and the Quatuor Ysayë. He is also intrigued by Argentinian tango music. Dur-
also studied at the Schola Cantorum with Jean Lénert. ing her search for new influences she moved to the
Netherlands. She began a specific tango piano study
After many years as a classical violinist, Mr. Meyer at the Codarts Conservatory in Rotterdam. She fol-
decided to explore a different kind of music: tango. lows specialized courses with masters of tango music,
In 2014, he began a master’s degree in tango at including Gustavo Beytelmann Nicolas Ledesma,
the Conservatory of Rotterdam (Codarts), where he Cristian Zarate … She is a member of several tango
works with reknowned musicians such as Gustavo groups, including the tango quintet ‘LocosLindos’ and’
Beytelmann and Leo Vervelde, amongst others. He Roffa Tango Trio’. In 2014 she completed her studies
will complete his degree in June 2016. Mr. Meyer at the Tango Department of the Rotterdam Conserva-
now performs in many tango groups, including the tory with excellence. Anke currently combines piano
Den Haag-based trio Tango por Tres, Orquesta tipica teaching with recitals. Some culminating points were
Belgica, and Orquesta tipica de Rotterdam integrada Anke Steenbeke - piano her performances at the Amsterdam Concertgebouw
por Alumnos (OTRA). Started her piano studies at the age of 8. At the and the Cumbre Mundial del Tango in Buenos Aires
Academy of Music and Speech in Eeklo, she took (Argentina). With Roffa Tango Trio, she was laure-
piano courses with professor Lieve Vossaert. After nine ate of Supernova, a contest by radio Klara.
years she decided to evolve her passion for piano at
the Conservatory of Ghent. With her mentor Johan
Duijck she has specialized in classical piano music. In
2007, Anke graduated with honors. Since then she
has been active as a piano teacher and accompanist at
the Academy of Music and Word in Tielt. To increase
her knowledge, she took several master classes with,
amongst others, Jan Vermeulen, Levente Kende and
Jean-Claude Vanden Eynden.
rovira and a good starting point from which to
study the relative positions of these
The traditional world of the tango had
become more and more sterile for

Piazzolla
two masters of tango, the epicentre of both Piazolla and Rovira. In the 1950s,
which was in the 1960s. they became bored by the repetitive
formulations of the genre and in an
A false It is interesting to view the tango
ideas of Rovira and Piazolla as two
attempt to avoid artistic frustration,
they performed traditional tango to

controversy autonomous innovative forms

of tango, contrasted against the
its limits, which estranged them from
the mainstream audience. Piazolla
traditional field of the genre. Apart gave the first serious impulse for the
from the divergent origins or structure of a modern tango in 1955,
differences in style, it is clear that we with Octeto Buenos Aires, with whom
are looking at parallel, independent he recorded two albums. A year later,
oeuvres, primarily disengaged from Rovira joined Octeto La Plata, led by
the tradition, which do not so much bandoneonist Omar Rufino Luppi. The
argue with the phenomenon of tango octet was formed in 1956, inspired by
Their main aim was to as an art form, as force it to incite that of Piazolla. Rovira arranged for
a clash of opinions only recently the group and played bandoneon, but
disengage from tango that was resolved. there are no surviving recordings.

intended solely as music to It is surprising how parallel the Their main aim was to disengage
pathways of Rovira and Piazolla run. from tango that was intended solely as
dance to. Just as all bandoneonists of the period, music to dance to.
they both started playing almost Just how far Piazolla went in his
intuitively and perfected their art as attempts to modernise the tango,
they developed professionally. following the forming of string
Having previously played in smaller, orchestras with soloists, can be
not very important orchestras, Astor heard in the 1957 recordings of the
Eduardo Rovira and Astor Piazolla joined the Anibal Triolo Orchestra string orchestra with Piazolla as solo
are usually presented as the two while Rovira played with a number bandoneonist.
composers whose work is at the of prime orchestras ((Orlando Goñi, Rovira, for his part, displayed a
forefront of tango. It was said that Miguel Caló, Osmar Maderna). Both similar unrest with his tango 'Febril',
there was a certain competitiveness were serious students of music from recorded in 1959 by the Osvaldo Manzi
between them and that there was a very early age and both started up Orchestra, in which he was arranger
discussion about who was the first their own traditional tango orchestras and first bandoneonist. Both musicians
to modernise tango. This apparent at roughly the same time, immediately show the same need to innovate. But
controversy has provided nothing introducing their reforms. this is where we come across the first
Omar García Brunelliclear or definite, but the subject forms of the differences: we have only a

40
40 41
 single recording by Rovira compared York, where he had worked for a
to twenty-four by Piazolla. time as arranger for a New York Latin
Despite the fact that the two musicians American recording label. Rovira had
were of similar ability, the symbolic had a disappointing experience in
capital accumulated by Astor (pupil Europe between 1954 and 1955, when
of Anibal Troilo, Alberto Ginastera he had left in the hope of making
and Nadia Boulanger) and its effect it to Paris to study there, but ended
made it easier for Piazolla to get his up performing in Spain. In 1960,
projects off the ground. In this sense, Rovira had just divorced his wife
he beat Rovira whose teacher, Pedro and embarked on a new relationship
Aquiles Aguilar, though good, was not leaving him starting from scratch
as famous as those of Piazolla, leaving financially. Neither musician had any
Rovira less able to gain access to the work engagements to lose; artistically,
relevant parts of the music scene. they could take any risk they pleased
and that is how they spent the next few
Furthermore, Piazolla came across years, building a new tango from the
as an explosive and overwhelming prestigious decadence of the previous
character, while Rovira was calm and one.
introverted. By this time, both were
unshakeable in their defence of their We are talking about two tango
particular aesthetic ideals concerning intellectuals who were determined
the modernisation of the tango, and to keep working on the creation of
were developing similar concepts, but a tango which did not yet exist, but
in general it was Rovira who followed of which there was a presentiment.
in the footsteps of Piazolla. It is worth Both had followed admirable double
noting that neither of them ever studies: expert in the most prestigious
returned to the traditional forms of the popular music of Argentina, educated
tango. in an environment in which they
were exposed daily to dance and
The key year in the radicalising of cabaret, but at the same time with
tango modernisation, called Nuevo an important academic background.
Tango by Astor and Tango Modern Piazolla published 29 works as a
by Eduardo, was 1960. The stage classical composer, for chamber and
for traditional tango had changed symphony orchestra while Rovira's list
dramatically and international of manuscripts from 1971 consisted of
Eduardo Rovira around 1975 opportunities were not promising. 50 works for chamber orchestra and
Piazolla returned destitute from an 25 symphonies, of which many were
attempt to establish himself in New probably composed before 1960, but

42 43
 tango, putting together an opus that constructions. That carelessness may Modern in 1961, following years of
focused specifically on recordings in fact be a feature of the tango, which research and preparation.
made between 1961 and 1968, with a since the stabilisation at the beginning
comeback in 1975. All the recordings of the twentieth century, is largely The concept of solo bandoneonist
were for local and independent labels, based on the rhythmical shock that and orchestra leader is the same as
while in the same period, Piazzolla occurs between at least two layers, the one Piazzolla had crafted from
was recording for the big labels such the melody and the accompaniment, 1954 onwards, and which Rovira
as CBS, Victor and Philips. Those which are generally counter-metrical. definitively adopted. From the very
recordings included compositions That function was later accentuated, first album, formal irregularities can
which Rovira himself called when the Gardelian phrasing became be observed which, by intensifying
innovative: a new dimension Tangos established as an essential effect in the accent, rhythmic overlaps and
(1961), octet Tango Buenos Aires, Suite genre. Paula Mesa clarifies the formal using accidentals, form almost an
had not been published (he received Opus 4 (1962), octet Tango vanguardia irregularity (the carelessness Juarez enrichment of Argentine folklore in
several official awards for this years ((1963), septet, Círculo de amigos was referring to?) as being a means the general context of the tango. As
later). del buen tango (1964), septet, Tango used by Rovira to avoid the traditional far as the construction of motifs is
University (1966), trio, A Roberto Arlt prototypical tango, arranged in phrases concerned, Rovira is influenced by the
Rovira's innovative project was run by (1966), trio, Sónico (1968), trio, and of four bars. [see p. 51/53] strongly contrasting juxtapositions and
a well-known promoter of the time, Que lo paren (1975), quartet. It would seem that Rovira composed complicating harmonies, particularly
Eduardo Parula, who had recently the most mature results of his Tango in arrangements of tangos by other
ceased his representation of Piazolla The idea of enriching, adapting or
and set up the 'Circle of Friends of arranging academic music with the
the Good Tango', a group especially addition of tango techniques was first
interested in the modern tango. applied by Piazzola with the Octeto
He turned to Rovira as the only Buenos Aires. Rovira only applied this
comparable counterpart to Piazzolla. concept later, but it was based on his
Rovira reunited the musicians who own development and clearly differed
had played in Octeto La Plata and stylistically from what Piazzolla had
formed his first group, which probably done. We might say that Piazzolla
involved the original members and brings the procedures and elements
possibly even reflected the rehearsals of the academic field to the tango and
with Piazzolla. He called the group enhances them while Rovira is more
'Eduardo Rovira and his Modern inclined to put academic and popular
Tango Group' and recorded his début elements next to each other and
album in 1961 for the independent 'academise' the tango.
Record label; the album featured four
of his own tangos and pieces by eight According to Manolo Juàrez, one
contemporary composers. From then of Rovira's characteristics was his
on, Rovira kept working at his modern carelessness in the formal and thematic Fernando Romano (doublebass) Eduardo Rovira (bandoneon) and Rodolfo Alchourron (guitar)

44 45
 composers, and most especially in Perhaps the essence of Rovira's style
the versions by Piazzolla which lead can be found in that last aspect:
to something in contemporary music making a modern tango which avoids
that is close to severe dissonance and any reference to the most popular
which can be clearly distinguished tango. He makes only sporadic use
from Piazzolla's harmonies. He of the type of traditional tango
sometimes uses quotes that could be accompaniment, and then only briefly,
humorous in nature, such as the first just enough to give tango colour
bars of Toccata en Fuga in d BWV 565 to a piece. Because it is so rare, it is
by Johann Sebastian Bach or the end immediately striking and devoid of
of Piazolla's Melancólico Buenos Aires, the recurring automatism this type of
or pentatonic scales in some passages accompaniment otherwise produces
of Las casas de las chinas (in Tango in the tango. In the double bass line of
Buenos Aires) which make one think Tango para Ernesto (van Que lo paren),
of the pentatonic folklore songbook of we find one of the few 'strapattas' in all
North West Argentina, or the air and his recordings. You rarely hear a tango
baroque progressions in Milonga para rubato from his bandoneon, but the
Mabel y Peluca. way he plays it in A fuego lento (from
the album Sónico) gives very beautiful
Unlike Piazzolla, Rovira is not a phrasing.
prominent 'melodist'; he seems
uninterested in that aspect, although All these elements come together
we do eventually find passages which and construct a certain language,
take remarkable lyrical flight, such as resulting in a strongly concentrated
in the second theme of Sonata baja. He Roviro universe of tango which avoids
is more interested in the counterpoint,
the rhythmic counterposition and use
of the 3-3-2 additive rhythm with
The extremely frequent use of the first
and fifth alternating bass of the chord
gives many passages an unmistakeable
character. The many changes in
tempo, rhythm and character mean
that he sometimes loses the narrative
continuity of the music, which in turn
threatens the tango swing, something
that seems not to trouble Rovira in the
Eduardo Rovira en Alfredo del Rio slightest.

46 47
popularity, is humble enough to their own character to their own
sometimes use Piazzolla aspects but destinations. Piazzolla went to Italy to
moulds them and incorporates them in compete on the international stage.
a personal way. In short, Roviro was a Rovira went to the provincial town
wonderful composer who was able to of La Plata, to concentrate on his
embody the modern tango in his own music. Both produced their best work
fashion during Piazzolla's reign. in the 1960s and that was the most
interesting music ever produced in
Despite their parallel history, they Argentina.
met only twice, apparently: once in
1961, when Piazzolla had come to hear It is a legacy that is increasingly
Rovira at the Faculty of Medicine, and important for today's world.
Rovira invited him on stage, where
Astor briefly improvised Los Mareados.
And once, at another venue, in 1966,
when they were both performing on
the same evening in a concert café
called Gotàn, directed by Juan Cedrón.
However, each was very aware of the
activities of the other. Rovira saw and
admired Piazzolla, and showed that
he did so. Pizzolla regarded Rovira as
a valued innovator and respected him,
often referring to him in those terms
on many occasions.

They were both part of the same

nocturnal music scene in the Buenos
Aires of the 1960s, in small venues
and café concerts, all of which began
to disappear towards the end of the
decade. Each of them was taken by

Eduardo Rovira with Jorge Hidalgo and Hector de Rosas

48 49
50
Rovira with the orchestra of Alfredo Gobbi

51
‘From the center upwards’ Paula Mesa

The tango is a style that came into simple accompaniment made possible same characteristic that accompanied
existence at the end of the nineteenth the improvised dance which could be the dancers and their footsteps. They
century. It is clearly distinguishable from performed to every tango. were dance orchestras: they recorded,
the milonga and the habanera. Dance and interpreted and performed at dance
music go hand in hand. The musical During the first twenty years of the events where the dance couples moved
form and the clear role played by the twentieth century, the most basic around the dance floor. These orchestras
accompaniment serve as the basis for the structure, consisting of three parts, interpreted the melodies and their
dance, which is supported by a constant was used. The dancers treated each part accompaniment in such a way that the
'beat' which continues throughout the as a theme in which the movements dancers were able to execute movements
piece. First there were the guitars, then were based on the musical cadence, to which merged with their 'abrazo' (the
the left hand of the piano, to which the accentuate the beginning and end of embrace), the characteristic of the tango.
double bass was added and which became each new part of their dance, that way Apart from a few exceptions, this mix
the main source of the accentuation of anticipating the closing chord of the of elements in terms of composition
rhythm and tempo. This allowed the dance piece. and interpretations in relation to the
couples to improvise their movements movement language, remained in place
to both well-known and new tangos. The Thanks to the various interpretations of throughout decades and formed the vision
composers, in turn, gave their tangos the orchestras, developed over a period (paradigm) of the time.
a structure that was 'easy to follow'. of a hundred years, differentiated styles
Both the structure of the pieces and the appeared, but they all adhered to the
52
The Rovira style: the tango the 1950s, during the highpoint of the that take place, the silence that, acting as a
viewed as 'from the centre success of the tango, both on the radio break, evokes a certain expectation. They
upwards' and in the large dance salons, Rovira follow very singable melodies, alternating
started to consider a tango which was with striking rhythmic elements and
"Tango is a way of life, it's something that represents intended only to be listened to; he adapted abrupt tempo changes.
the lifestyle and feelings of everyone. Ordinary his compositions and interpretations and
people think that tango is just a dance, that you in this new approach, took a prominent
can always dance to it, while the most important stance. The innovative features of his The avant-garde in the tango
aspect of the tango is in actual fact in the area of the music are based on the structuring of his
music. I want to reach the essence of the tango, the composition, sometimes in the fashion of In his sociological definition of the avant-
harmonic connections, the variety of its rhythms, the a collage. The eclecticism he displays in the garde, Carcia Canclini* states that breaking
development of the nuances." way in which the various elements of his with tradition should make it possible for
musical language relate to each other, has the relationships between artist, work,
Eduardo Rovira, La Prensa newspaper, July 1969 given his music the stamp of distinction. intermediaries and audience to change.
The avant-garde requires the creation of
Based on the analysis of his music, and When we listen to his tangos, we are taken a new way of looking at, reproducing
taking into account his clear vision, I by surprise by melodic, rhythmic and and communicating, of generating a new
believe that Eduardo Rovira's artistic or textual elements. For example, at the mode of social relationship. Rovira was
work and his innovation in tango music beginning of Sónico, two different motifs able to introduce new musical aspects into
signified a break with the standard that can be heard which overlap each other, the tango which changed the idea of the
applied up to that time (paradigm). In there is a change of tempo and variations tango's musical language.

53
The characteristics that define his style listened to; it is no longer the tango to be
are based on the fact that his music danced to or to act as accompaniment for
is constructed from the intersection the singers. Compared to a tango which
of languages, from a co-existence of refers to the traditional orchestras such as
elements of the European musical those of Osvaldo Fresedo, Orlando Goñi
language centre (S.XVII, S.XIX) with or Miguel Calo, to the new interpretive
elements of contemporary avant-garde directions taken by Osvaldo Pugliese,
music. His works are constructed on the Aníbal Troilo or Alfredo Gobbi and to
basis of this synergy. On the other hand, the new compositional approaches such
the existence of his work confirms the as those developed by Horacio Salgán,
characteristic of innovation, given that Osmar Maderna and Jose Basso, to name
his music is regarded as breaking with but a few, composing with the aid of
tradition by both those who have accepted open, rhythmic, more diverse forms and
this transformation and those who tempo changes as can be heard in Rovira's
criticise it. work, is something completely different
and innovative. And that is exactly what
Lastly, it is important to reiterate that the characterises Rovira's vision on the tango. * García Canclini. Nestor. 1989. Culturas híbridas. Estrategias
great change took place not only in the para entrar y salir de la modernidad. Editorial Grijalbo. Bs.
As. [Hybrid cultures. Strategies with which to enter and leave
area of the music, but also in the ideology. modernity.]
It formed a tango which, by definition,
must be constructed and performed to be
Tango Brutal
The stranger has always played a part stranger in music and dance, in the Over de auteurs Carlos Maria Rosa was born in Buenos Aires
Paula Mesa was born in 19771 and has been a and lives there now. He is a journalist and
in our society, whether as a threat, a form of tango in its broadest sense: lecturer and researcher for the Arts Faculty of instructor in the history of tango. He
stumbling block or something difficult against individualism and for an the UNLP since 1997. Mesa has performed as a contributed to the Argentinian edition of Muy
tango dancer for more than twenty years in interesante magazine from 1998 to 2001 and
to integrate. Gradually, the emigrant, inclusive society. Argentina and other countries. She has was editor of Rock Effect Metal magazine from
the refugee and the fortune-seeker performed chamber music and symphonic 2010 to 2017.
compositions and has worked with artists and He also had his own programme for Public
have arrived in our society, more often The melting pot of cultures and dancers. She has taken part in national and Radio from 2004 to 2007 and producer at TV
than not it’s an arduous journey. Their nationalities which our Euroregion has international conferences and is currently Publica Argentina from 2000 to 2001. Each
finishing her PhD thesis. summer, he can be heard in his own radio
role is invariably highlighted in arts become, thanks to the mining industry, programme at Fm La Tribu, the first community
and culture, because it is precisely makes it the most logical location in Omar García Brunelli was born in Argentina radio in Buenos Aires.
in 1954 and presently lives in Buenos Aires. He He has written articles, also about Astor
in the regions of the mind that we which to carry out this task. graduated in musicology from the Catholic Piazzolla and Eduardo Rovira..
reflect critically on change. The world . University of Argentina. He works as a
researcher at the 'Carlos Vega' national institute Colofon
of music has also always undergone of musicology of Argentina. He has published Eduardo Rovira – La otra vanguardia del tango Eduardo
influences from abroad, through Previous Tango Brutal tango notebooks articles on popular music and contributed to Rovira - La otra vanguardia del tango is
the Dictionary of Spanish and Latin American published on the occasion of Tango Brutal 2019
travelling musicians and music styles Music, the New Grove Dictionary of Jazz and and was put together by Rob Bindels at the
crossing all borders. Tango is exactly Carlos Gardel. the Continuum Encyclopedia of Popular Music request of the festival organisation. Tango
of the World. He edited the book Estudios sobre Brutal is a small-scale Euroregional festival held
the kind of music in which all external El rey del tango. la musica de Astor Piazzolla (Studies of the in Heerlen and this year sees the seventh
factors seem to congregate. Musicians Heerlen 2014. 52 p. music of Astor Piazzolla) (Gourmet Musical, edition. The tango will be promoted, celebrated
2008) and published Discografia basica del and enjoyed in all its many forms at various
travelled throughout the world and Osvaldo Pugliese. tango 1905-2010 – Su historia a traves de las locations in Heerlen, Maastricht and Aken, from
settled in European capitals, dancers El maestro del tango. grabaciones (Gourmet Musical, 2010). 27 April through 5 May. Some parts of the
programme revolve specifically around the
followed and in turn, made a global Heerlen 2015. 40 p. music of Eduardo Rovira. The festival is an

photo backside: Eduardo Rovira and his orchestra 1954, Paseo del Prodo, Madrid
Carlos Salatino, 61 years old, was born in
fever of the tango. The original Astor Piazzolla. Buenos Aires. He is a musician and graphic initiative of Marcel van der Heyden, in
designer. He worked on the culture department cooperation with Parkstad Limburg Theatres
Argentinian tango music did not El revolutionario del tango. of the Tiempo Argentino newspaper and at Heerlen and Bozar Brussels
spread across the earth in such a way, Heerlen 2016. 52 p. urban culture magazine Quid. He has published
articles in Mellotron magazine (specialised in Editor: Rob Bindels
but local variants did develop here and progressive and symphonic rock) and in Guest editor: Ariel Eberstein
there, such as in Poland and Finland, The series is edited by Rob Bindels Punto/Musica. He directed the radio Design: Buro Marcel van der Heyden
programmes 'El retorno del gigante' and El Illustration (cover): Oscar Grillo
for example. So, the tango, both as fonoscopio'. He studied music at the Instituto Printed by: Drukpartnerszuid
music genre and as dance, has stood Superior del Collegium Musicum (Buenos Translations: Joan Hamers, Ger Hummel and
Aires), Taller de Composicion del Conservatorio Lizzie Kean
the test of time admirably and is more Superior de Musica Manuel de Falla (Buenos
alive than ever. The Tango Brutal festival Aires) and took several courses in Guitar Craft Thanks to: Provincie Limburg, Gemeente Heerlen,
(headed by Robert Fripp). He was a member of Gemeente Maastricht, Parkstad Limburg Theaters,
aims to act as a medium, by way of guitar duo ‘por si las moscas’ and of ‘Buenos Bozar Brussel, Buro Marcel van der Heyden,
publications, lectures, performances, Aires Craft Guitar Ensemble’. Stichting FSI, Tango Maastricht, Corazon Aachen,
Schunck, Cultuurhuis Heerlen, Burg Wilhelmstein,
film screenings, dance evenings and De Twee Gezusters, Rob Bindels, Carlos M. Rosa,
concerts, to highlight the role of the Paula Mesa, Omar García Brunelli, Stephen Meyer,
Oscar Grillo, Camilo Cordoba, Carlos en Jorge
Rovira, Oscar del Priore, Joan Hamers en
Ger Hummel

54 55
w w w. tangob r u tal . com / i nfo @ tangob r u tal . com