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♪♪ -Coming up
on "Great Performances"...

00:00:07.834 --> 00:00:09.476 line:20%
I'm Scott Yoo.

00:00:09.500 --> 00:00:11.143 line:20%
Join me on a trip through
the many neighborhoods

00:00:11.167 --> 00:00:13.518
of Buenos Aires...

00:00:13.542 --> 00:00:14.351
Looks like Paris.
-Absolutely.

00:00:14.375 --> 00:00:16.476
-...to learn the tango.

00:00:16.500 --> 00:00:17.975
So this is tango?
-Oh, yes.

00:00:17.999 --> 00:00:19.975
[ Tango music playing ]

00:00:19.999 --> 00:00:22.685
-How to play it...

00:00:22.709 --> 00:00:23.975
You're using your nail?

00:00:23.999 --> 00:00:25.042 line:20%
-Y también
se puede hacer como...

00:00:27.542 --> 00:00:28.685
-[ Laughs ]

00:00:28.709 --> 00:00:29.975
-I can't do that.

00:00:29.999 --> 00:00:30.975
...and, sort of,
how to dance it.

00:00:30.999 --> 00:00:33.310
-I apologize in advance.
[ Laughs ]

00:00:33.334 --> 00:00:36.375
-This is all part of getting
to know Astor Piazzolla.

00:00:39.709 --> 00:00:41.292
He was an Argentine composer
who fell in love with tango.

00:00:41.459 --> 00:00:45.560 position:20%
-So passionate about spreading
the lore about this music

00:00:45.584 --> 00:00:48.935
all around the world
with his vision.

00:00:48.959 --> 00:00:51.727
-Then fell out of love.

00:00:51.751 --> 00:00:53.393
He obviously wanted to do
something other than tango.

00:00:53.417 --> 00:00:56.018
Then tango fell out of love
with him.

00:00:56.042 --> 00:00:58.518
-They hated him.
You know, sometimes they even

00:00:58.542 --> 00:01:01.185
threw gasoline onto the stage.

00:01:01.209 --> 00:01:03.852 line:20%
-We'll find out
if they can reconcile,

00:01:03.876 --> 00:01:06.101 line:20%
next on "Now Hear This,"

00:01:06.125 --> 00:01:08.500 line:20%
in "Piazzolla's History
with Tango."

00:01:15.834 --> 00:01:18.476
[ Mid-tempo music plays ] -In Buenos Aires,
in the famous Estudios ION,

00:01:18.500 --> 00:01:22.209
a tango quintet exactly
in the style of Astor Piazzolla

00:01:23.042 --> 00:01:26.435
is warming up.

00:01:26.459 --> 00:01:28.292
♪♪

00:01:29.459 --> 00:01:33.143 position:20%
I was here
to get to know Piazzolla,

00:01:33.167 --> 00:01:35.643 position:20%
and to get to know tango.

00:01:35.667 --> 00:01:37.626
♪♪

00:01:40.209 --> 00:01:44.185 position:20%
My guide for this journey
would be tango musician,

00:01:44.209 --> 00:01:46.999
radio host, historian, and
advocate Ignacio Varchausky.

00:01:48.542 --> 00:01:51.975 position:20%
Few know Piazzolla better.

00:01:51.999 --> 00:01:54.602
♪♪

00:01:54.626 --> 00:01:57.351
-That's him.
-Yeah, that's him.

00:01:57.375 --> 00:02:00.101
The one and only,
Astor Piazzolla.

00:02:00.125 --> 00:02:02.268
-Look at his face.
-So passionate.

00:02:02.292 --> 00:02:04.975 position:20%
And in all these pictures

00:02:04.999 --> 00:02:07.185
is Piazzolla recording
in this very studio.

00:02:07.209 --> 00:02:10.999 position:20%
And with
that legendary engineer --

00:02:11.334 --> 00:02:14.975
you know the guy in white?
-Uh-huh.

00:02:14.999 --> 00:02:17.310
-That's the great
Osvaldo Acedo,

00:02:17.334 --> 00:02:19.975
who amazingly enough,
is here with us.

00:02:19.999 --> 00:02:21.876
[ Laughter ]
-Hola.

00:02:22.250 --> 00:02:25.602 line:20%
[ Laughter ]

00:02:25.626 --> 00:02:29.059
-This actually -- This is
one of the sessions

00:02:29.083 --> 00:02:32.143
for "Maria de Buenos Aires."

00:02:32.167 --> 00:02:34.560
This is the original record
Osvaldo recorded here.

00:02:34.584 --> 00:02:38.351
How many records you made
with Piazzolla?

00:02:38.375 --> 00:02:40.101 line:20%
-Four.
Cuatro discos.

00:02:40.125 --> 00:02:42.393 line:20%
Y después mucha música
de película también.

00:02:42.417 --> 00:02:44.894 line:20%
-This makes this place

00:02:44.918 --> 00:02:46.226
kind of the Abbey Road
of Argentina.

00:02:46.250 --> 00:02:49.810
-Yeah, exactly.
-It's cool.

00:02:49.834 --> 00:02:52.852
What kind of a person
was Piazzolla?

00:02:52.876 --> 00:02:54.975 line:20%
Encantador.
Era --

00:02:54.999 --> 00:02:57.042 line:20%
Mucha gente dice que Piazzolla
era muy complicado.

00:02:57.542 --> 00:03:01.143 line:20%
Pero en realidad
no era complicado.

00:03:01.167 --> 00:03:03.975
-He was always very defensive

00:03:03.999 --> 00:03:05.727
because all the traditional
tango establishment

00:03:05.751 --> 00:03:09.143
was attacking him...
-Right.

00:03:09.167 --> 00:03:11.226
-...was accusing him
of killing tango, right?

00:03:11.250 --> 00:03:14.101
-Oh.
-Yeah, yeah.

00:03:14.125 --> 00:03:15.476
That was how intense
that fight was.

00:03:15.500 --> 00:03:17.792
That's why he's known as a very
tough, defensive guy, right?

00:03:18.500 --> 00:03:22.143
-So, who are we going to hear
today?

00:03:22.167 --> 00:03:23.727
-Today we're going to hear
Quinteto Revolucionario,

00:03:23.751 --> 00:03:26.250 position:20%
which is by far the best
Piazzolla music musicians

00:03:27.000 --> 00:03:30.852
that play in the exact
same style

00:03:30.876 --> 00:03:33.059 position:20%
as he did with his quintet.

00:03:33.083 --> 00:03:34.975 line:20%
-Y yo armé el estudio

00:03:34.999 --> 00:03:37.685 line:20%
igual que como lo armaba
para grabar a Piazzolla.

00:03:37.709 --> 00:03:40.935
-Yeah, he put
all the microphones

00:03:40.959 --> 00:03:42.935
in the exact same place,
exact same fashion,

00:03:42.959 --> 00:03:45.975
as he put them
for Piazzolla himself.

00:03:45.999 --> 00:03:47.643
Vamos.

00:03:47.667 --> 00:03:49.459
♪♪

00:03:54.709 --> 00:03:57.959
♪♪

00:04:02.709 --> 00:04:06.351 line:20%
-Bueno muchachos,
estamos listos

00:04:06.375 --> 00:04:08.476 line:20%
para comenzar a grabar
 una toma.

00:04:08.500 --> 00:04:10.751 line:20%
-Bien.
-Vale.

00:04:12.792 --> 00:04:13.768
♪♪

00:04:13.792 --> 00:04:15.518
-Tango was born in
the working-class neighborhoods

00:04:15.542 --> 00:04:17.975
of Buenos Aires around
the turn of the 20th century.

00:04:17.999 --> 00:04:21.975
Astor Piazzolla was born
shortly thereafter,

00:04:21.999 --> 00:04:24.975 position:20%
and the two grew together.

00:04:24.999 --> 00:04:26.810
♪♪

00:04:26.834 --> 00:04:28.975
They loved each other.
They hated each other.

00:04:28.999 --> 00:04:31.476
They couldn't exist
without one another.

00:04:31.500 --> 00:04:33.975
I wanted to know their story.

00:04:33.999 --> 00:04:36.435
♪♪

00:04:36.459 --> 00:04:38.310
Late in life, Piazzolla
would write his version,

00:04:38.334 --> 00:04:41.351
his History of Tango
in four movements.

00:04:41.375 --> 00:04:44.975
It's often played on violin.

00:04:44.999 --> 00:04:46.976 line:20%
But he wrote it
for guitar and flute,

00:04:47.000 --> 00:04:49.976 line:20%
which, of course,
my wife, Alice, plays.

00:04:50.000 --> 00:04:53.250 line:20%
♪♪

00:04:55.751 --> 00:04:59.959 line:20%
Piazzolla considered these the
original instruments of tango.

00:05:00.999 --> 00:05:04.125 line:20%
♪♪

00:05:04.500 --> 00:05:08.393
Early tango, first danced
in bordellos, bars,

00:05:08.417 --> 00:05:11.727 position:20%
and backroom dance halls,

00:05:11.751 --> 00:05:13.351
before Piazzolla fell for it
and changed it forever,

00:05:13.375 --> 00:05:16.975
would have looked
a lot like this.

00:05:16.999 --> 00:05:19.292 line:20%
♪♪

00:05:25.000 --> 00:05:28.250 line:20%
♪♪

00:05:34.000 --> 00:05:37.250 line:20%
♪♪

00:05:42.999 --> 00:05:46.167 line:20%
♪♪

00:05:51.999 --> 00:05:55.125 line:20%
♪♪

00:06:00.999 --> 00:06:04.125 line:20%
♪♪

00:06:09.999 --> 00:06:13.125 line:20%
♪♪

00:06:18.999 --> 00:06:22.125 line:20%
♪♪

00:06:27.999 --> 00:06:31.125 line:20%
♪♪

00:06:36.709 --> 00:06:39.999 line:20%
[ Music stops ]

00:06:42.125 --> 00:06:44.959
Ignacio took us to meet the new
Stradivari of the bandoneón,

00:06:44.999 --> 00:06:48.727
the young luthier
Baltazar Estol.

00:06:48.751 --> 00:06:52.727 position:20%
This was the instrument
that would soon challenge

00:06:52.751 --> 00:06:54.876
the guitar and flute
to become tango's main squeeze.

00:06:55.834 --> 00:06:59.310
This looks like a little piano.

00:06:59.334 --> 00:07:02.999
The action for a grand piano
in a dollhouse.

00:07:03.125 --> 00:07:06.643 line:20%
-Es muy parecido.

00:07:06.667 --> 00:07:08.727 line:20%
Pero en lugar de funcionar

00:07:08.751 --> 00:07:10.975 line:20%
como martillos,
 como golpeando la cuerda,

00:07:10.999 --> 00:07:13.143 line:20%
funcionan como válvulas
 de aire.

00:07:13.167 --> 00:07:15.059 position:20% line:20%
-When you press the button,

00:07:15.083 --> 00:07:17.000 line:20%
the air flows
into this metal part

00:07:17.375 --> 00:07:20.976 line:20%
and generates the sounds.
-Reeds.

00:07:21.000 --> 00:07:22.975
-Reeds.
-It's like an oboe.

00:07:22.999 --> 00:07:24.310
-It's like an oboe and a piano
in a dollhouse.

00:07:24.334 --> 00:07:27.810
[ Laughter ]
That's crazy.

00:07:27.834 --> 00:07:30.185
-The one outside is the reed
that sounds

00:07:30.209 --> 00:07:33.975
when you close the instrument.
-Right.

00:07:33.999 --> 00:07:36.018
-The other one...
-Is the reverse.

00:07:36.042 --> 00:07:38.351
-The other one,
when you open it.

00:07:38.375 --> 00:07:40.226 position:20%
-Can you imagine
if we had two vocal cords?

00:07:40.250 --> 00:07:42.393
[ Laughter ]
One for sucking in air,

00:07:42.417 --> 00:07:44.310
and one for expelling it?
-Yeah, but that's

00:07:44.334 --> 00:07:46.975 position:20%
the explanation
for how complicated it is.

00:07:46.999 --> 00:07:50.268 position:20%
Because in this instrument,
the same button will sound

00:07:50.292 --> 00:07:53.975
one way -- like, one note --
when you open,

00:07:53.999 --> 00:07:56.976 position:20%
but it will sound
a complete different note

00:07:57.000 --> 00:07:58.602
when you push it back.

00:07:58.626 --> 00:08:00.000
Only a few notes
will be the same both ways.

00:08:00.584 --> 00:08:03.975
It is so complicated

00:08:03.999 --> 00:08:05.852
that it actually has
four keyboards.

00:08:05.876 --> 00:08:07.894
-Left in, left out,
right in, right out.

00:08:07.918 --> 00:08:10.143
-You got it.
-Wow.

00:08:10.167 --> 00:08:12.602
So this is a really difficult
instrument to play.

00:08:12.626 --> 00:08:14.768
-Yeah, and to build.
[ Chuckles ]

00:08:14.792 --> 00:08:16.727
-And to build, yeah.

00:08:16.751 --> 00:08:18.393
How did it become
the instrument of the tango?

00:08:18.417 --> 00:08:20.351
-It has a lot to do
with the immigrants

00:08:20.375 --> 00:08:22.518
that came to Buenos Aires
from Europe.

00:08:22.542 --> 00:08:26.101
And you know,
this is an instrument

00:08:26.125 --> 00:08:27.959
that was originally designed
to play, like, church music.

00:08:28.459 --> 00:08:32.101
-Is this like
an organ substitute?

00:08:32.125 --> 00:08:34.185
-Yes, like a portable organ.
-Oh, that makes sense.

00:08:34.209 --> 00:08:37.852
-But it eventually made it
into the Buenos Aires brothels,

00:08:37.876 --> 00:08:40.226
which is, you know,
an interesting contrast.

00:08:40.250 --> 00:08:42.975
And little by little,
it started to become,

00:08:42.999 --> 00:08:45.975
like, the main instrument
of tango,

00:08:45.999 --> 00:08:48.792 position:20%
especially since some musicians,
like Juan Maglio "Pacho,"

00:08:48.999 --> 00:08:52.727
started to develop
its technique.

00:08:52.751 --> 00:08:55.918
Eventually, it became, like,
the voice of tango, in a way.

00:08:56.042 --> 00:08:59.975
-Is that the music you sent me?
The Pacho?

00:08:59.999 --> 00:09:01.852
-Yes. Juan Maglio Pacho.

00:09:01.876 --> 00:09:03.602
Juan Maglio Pacho was
a very important figure

00:09:03.626 --> 00:09:05.935
because he was
one of the very first

00:09:05.959 --> 00:09:08.975
professional bandoneón players.

00:09:08.999 --> 00:09:11.518
And at some point,
he became so popular

00:09:11.542 --> 00:09:13.976
that people would go
to the record shop

00:09:14.000 --> 00:09:15.975
and instead of asking
for a record,

00:09:15.999 --> 00:09:18.935
they would say,
"Give me a Pacho."

00:09:18.959 --> 00:09:20.894
And it was one of these.

00:09:20.918 --> 00:09:23.685
-Oh, wow.
-Pacho.

00:09:23.709 --> 00:09:25.975
-What time period?

00:09:25.999 --> 00:09:27.643
-This must be in 1914.

00:09:27.667 --> 00:09:29.975
-But Piazzolla,
he grew up --

00:09:29.999 --> 00:09:31.560
he was born here,
but he grew up in New York.

00:09:31.584 --> 00:09:34.083
So how did he get exposed
to all of this tango music?

00:09:35.083 --> 00:09:38.975
Was it through the records?
-Absolutely.

00:09:38.999 --> 00:09:40.351 position:20%
His father -- he had
a great record collection

00:09:40.375 --> 00:09:43.518
of different tango orchestras
that he liked.

00:09:43.542 --> 00:09:46.976
And I'm sure, at some point,

00:09:47.000 --> 00:09:49.143
he also heard stuff like this.

00:09:49.167 --> 00:09:51.250
Actually, there's no Piazzolla
without Pacho.

00:09:52.417 --> 00:09:55.975
-I'm really blown away by this,

00:09:55.999 --> 00:09:57.476 position:20%
because even for us,
as professional musicians,

00:09:57.500 --> 00:10:00.975
to pick up a bandoneón

00:10:00.999 --> 00:10:03.975
and try to figure out
how to play it...

00:10:03.999 --> 00:10:05.852
-It'd be a mess.

00:10:05.876 --> 00:10:06.976
-And he's figuring out
all of this stuff?

00:10:07.000 --> 00:10:08.976
-Well, he was a genius.

00:10:09.000 --> 00:10:10.351
-I just feel like it's
a very unlikely thing

00:10:10.375 --> 00:10:12.751 position:20%
for one of the greatest
virtuosos of the bandoneón

00:10:14.125 --> 00:10:17.685
to grow up in New York,

00:10:17.709 --> 00:10:19.975
because there isn't
the culture there.

00:10:19.999 --> 00:10:21.226
The culture was just simply
a few records.

00:10:21.250 --> 00:10:24.351
That's pretty amazing.
-Well, yes, it is crazy.

00:10:24.375 --> 00:10:27.101
And it's, I think,
it's as random

00:10:27.125 --> 00:10:29.685
as a bandoneón keyboard.

00:10:29.709 --> 00:10:31.125 line:20%
♪♪

00:10:36.709 --> 00:10:39.959 line:20%
♪♪

00:10:45.584 --> 00:10:48.834 line:20%
♪♪

00:10:54.500 --> 00:10:57.751 line:20%
♪♪

00:11:03.375 --> 00:11:06.626 line:20%
♪♪

00:11:12.209 --> 00:11:15.459 line:20%
♪♪

00:11:21.083 --> 00:11:24.334 line:20%
♪♪

00:11:30.000 --> 00:11:33.250 line:20%
♪♪

00:11:38.626 --> 00:11:41.975
-Bravissimo.
-Ah.

00:11:41.999 --> 00:11:44.810
-Bravo.
-[ Chuckles ]

00:11:44.834 --> 00:11:46.459
This instrument looks
so complicated to play.

00:11:49.542 --> 00:11:49.975 line:20%
-Tiene lo suyo.

00:11:49.999 --> 00:11:51.999 line:20%
-[ Chuckles ]
Can you show me?

00:11:53.834 --> 00:11:56.792 line:20%
♪♪

00:12:02.209 --> 00:12:05.459 line:20%
♪♪

00:12:10.000 --> 00:12:14.125 line:20%
I heard that after Piazzolla
fell in love with the tango,

00:12:16.542 --> 00:12:19.975 position:20% line:20%
he started studying Bach.

00:12:19.999 --> 00:12:21.975 line:20%
And he was really crazy
about it,

00:12:21.999 --> 00:12:23.975 line:20%
and he learned
to play the piano.

00:12:23.999 --> 00:12:25.975 line:20%
@And I even heard that he started
playing the Bach

00:12:25.999 --> 00:12:28.852 line:20%
on this instrument.

00:12:28.876 --> 00:12:30.351 line:20%
I mean, is that even possible?
-It's possible.

00:12:30.375 --> 00:12:32.727 line:20%
-It's possible.
-Possible, right.

00:12:32.751 --> 00:12:34.459 line:20%
♪♪

00:12:39.667 --> 00:12:42.918 line:20%
♪♪

00:12:48.083 --> 00:12:51.334 line:20%
♪♪

00:12:56.584 --> 00:12:59.834 line:20%
♪♪

00:13:05.042 --> 00:13:08.292 line:20%
♪♪

00:13:13.542 --> 00:13:16.792 line:20%
♪♪

00:13:21.167 --> 00:13:25.226
-The Retiro and Recoleta
neighborhoods of Buenos Aires

00:13:25.250 --> 00:13:29.042
look a lot like another
famously romantic city.

00:13:29.542 --> 00:13:32.792
♪♪

00:13:35.042 --> 00:13:38.292
♪♪

00:13:39.751 --> 00:13:43.751
-So, this building was built
by a French-roots family

00:13:44.709 --> 00:13:47.975
in the mid-'20s,

00:13:47.999 --> 00:13:49.852
and many famous people
lived here.

00:13:49.876 --> 00:13:52.059
Actually, it's been said
that the great Carlos Gardel

00:13:52.083 --> 00:13:54.727
even lived here for a while.

00:13:54.751 --> 00:13:56.310
And you know, Carlos Gardel was

00:13:56.334 --> 00:13:57.975
the greatest tango singer
ever -- ever.

00:13:57.999 --> 00:14:01.083 position:20%
And one of the most inspired
tango composers, as well.

00:14:01.250 --> 00:14:04.975
He's like a national hero,
you know?

00:14:04.999 --> 00:14:07.018
And also, he was one of
Piazzolla's great inspirations.

00:14:07.042 --> 00:14:10.975
They even met.
I don't know if you know this,

00:14:10.999 --> 00:14:12.876
but they met in New York
when Piazzolla was just a child.

00:14:13.167 --> 00:14:16.894
He was like 12, 13 years old,

00:14:16.918 --> 00:14:18.518 position:20%
and Gardel
was filming a movie there.

00:14:18.542 --> 00:14:21.143
Eventually, the little Piazzolla
got a part

00:14:21.167 --> 00:14:24.310
in the "El Día Que Me Quieras"
movie.

00:14:24.334 --> 00:14:26.518
You know, it's like
a cosmos miracle.

00:14:26.542 --> 00:14:29.894
-Somebody figured out that he
was something special even then.

00:14:29.918 --> 00:14:32.975
-I think so.

00:14:32.999 --> 00:14:34.999
[ Birds chirping ]

00:14:37.500 --> 00:14:39.975
-This could be in Paris.
-Absolutely.

00:14:39.999 --> 00:14:42.310
As you can see,
there's a huge

00:14:42.334 --> 00:14:43.975
French architectural influence
here in Buenos Aires.

00:14:43.999 --> 00:14:47.351
And if you look around a little,
you understand

00:14:47.375 --> 00:14:49.334
why it's known as
the Paris of the south, right?

00:14:49.667 --> 00:14:53.334
-Yeah.
-Because, by the late 1800s,

00:14:53.667 --> 00:14:57.435
we were the sixth economy
of the world.

00:14:57.459 --> 00:15:00.209
This has been a rich country
for a long while now.

00:15:01.626 --> 00:15:05.167
Rich but unjust,
unfair, unequal.

00:15:05.334 --> 00:15:08.975
Right?
So, in different ways,

00:15:08.999 --> 00:15:10.976
you can link that
to the history of tango.

00:15:11.000 --> 00:15:13.560
Because in the beginning,
tango was a culture

00:15:13.584 --> 00:15:17.101
that belonged to the low class.
Right?

00:15:17.125 --> 00:15:20.018
The upper class didn't
accept it, rejected.

00:15:20.042 --> 00:15:23.125
But over time, and especially
when tango made its way

00:15:23.375 --> 00:15:27.018
into Europe,
especially to France,

00:15:27.042 --> 00:15:29.975
eventually,
it was accepted here.

00:15:29.999 --> 00:15:32.852
-So, tango was the music
of the poor,

00:15:32.876 --> 00:15:35.417
and it needed the validation
of the French

00:15:36.042 --> 00:15:40.083
in order for it to be
legitimate here in Argentina.

00:15:40.334 --> 00:15:43.643
-Exactly.

00:15:43.667 --> 00:15:45.999 line:20%
♪♪

00:15:50.542 --> 00:15:53.792 line:20%
♪♪

00:15:57.751 --> 00:16:01.393 line:20%
-When Piazzolla moved
from New York,

00:16:01.417 --> 00:16:03.476 line:20%
back to Buenos Aires,
in the 1930s,

00:16:03.500 --> 00:16:06.351 line:20%
he arrived to find
a Paris-style café society,

00:16:06.375 --> 00:16:09.975 line:20%
where tango was becoming
more sophisticated.

00:16:09.999 --> 00:16:12.500 line:20%
♪♪

00:16:17.834 --> 00:16:20.999 line:20%
♪♪

00:16:26.334 --> 00:16:29.584 line:20%
♪♪

00:16:34.999 --> 00:16:38.125 line:20%
♪♪

00:16:43.375 --> 00:16:46.626 line:20%
♪♪

00:16:51.999 --> 00:16:55.125 line:20%
♪♪

00:17:00.375 --> 00:17:03.626 line:20%
♪♪

00:17:08.999 --> 00:17:12.125 line:20%
♪♪

00:17:17.375 --> 00:17:20.626 line:20%
♪♪

00:17:25.999 --> 00:17:29.167 line:20%
♪♪

00:17:34.417 --> 00:17:37.667 line:20%
♪♪

00:17:42.751 --> 00:17:46.018 line:20%
[ Traffic passing ]

00:17:46.042 --> 00:17:48.435 line:20%
[ Door opens ]

00:17:48.459 --> 00:17:49.834 line:20%
San Telmo, one of the oldest
neighborhoods in Buenos Aires,

00:17:50.209 --> 00:17:53.975
was a hotbed of tango
in the 1930s,

00:17:53.999 --> 00:17:57.268
and it still is.

00:17:57.292 --> 00:17:59.959
Some things haven't changed much
in 90 years.

00:18:00.542 --> 00:18:04.185
-Here we are.
The famous Bar Sur.

00:18:04.209 --> 00:18:06.975
-Cool. Let's go in.

00:18:06.999 --> 00:18:09.059
-Do you think
Piazzolla played here?

00:18:09.083 --> 00:18:11.602 position:20%
-Well, I'm not sure about that,
but we know that he played

00:18:11.626 --> 00:18:14.226
in these kind of cafés
in the late '30s.

00:18:14.250 --> 00:18:17.018
-It looks like we are
in 1930 right now.

00:18:17.042 --> 00:18:19.935
-Yeah, they kept it
the way it was.

00:18:19.959 --> 00:18:21.852
And when you are here,

00:18:21.876 --> 00:18:23.226
you can feel the atmosphere
of that time.

00:18:23.250 --> 00:18:25.393
And the music that was
in the air, you know,

00:18:25.417 --> 00:18:27.685
the likes of Julio de Caro,
and Elvino Vardaro --

00:18:27.709 --> 00:18:30.975
those musicians
that heavily influenced him.

00:18:30.999 --> 00:18:33.894
Both violin players, by the way.

00:18:33.918 --> 00:18:36.101
-So that's why he incorporated
violin into his music?

00:18:36.125 --> 00:18:39.018
-Well, let's say that
by the '30s,

00:18:39.042 --> 00:18:42.000
the tango had developed from
that original trio, quartet,

00:18:42.999 --> 00:18:46.852
with guitar,
into a different form.

00:18:46.876 --> 00:18:50.268
-This reminds me of a symphony
orchestra in some ways.

00:18:50.292 --> 00:18:52.935
You have the bottom,
which you play.

00:18:52.959 --> 00:18:54.975
We have the top,
we have the winds.

00:18:54.999 --> 00:18:57.059
And then the piano
is kind of the Everyman,

00:18:57.083 --> 00:18:59.894
just kind of covering
everything else.

00:18:59.918 --> 00:19:01.310
I mean, this small group
is like a jackknife.

00:19:01.334 --> 00:19:05.185
It covers everything.
It's incredible.

00:19:05.209 --> 00:19:07.310
-You are totally right on that.

00:19:07.334 --> 00:19:09.727
This formation --
two bandoneóns,

00:19:09.751 --> 00:19:12.976
two violins, piano,
and bass --

00:19:13.000 --> 00:19:14.975
is like the beginning
of the real orquesta típica.

00:19:14.999 --> 00:19:17.975
-Mm-hmm.
-And if you think about it,

00:19:17.999 --> 00:19:19.975
it's the backbone
of modern tango.

00:19:19.999 --> 00:19:22.476
-What are we going to be
playing today?

00:19:22.500 --> 00:19:24.185
-Today we're going to play
"Tierra Querida,"

00:19:24.209 --> 00:19:25.976
a wonderful tango
by Julio de Caro.

00:19:26.000 --> 00:19:28.143
Anyone that loves tango
loves this piece.

00:19:28.167 --> 00:19:30.476
And it's an important piece
because Piazzolla recorded it

00:19:30.500 --> 00:19:33.226
with his first orchestra.
It's a piece

00:19:33.250 --> 00:19:35.560 position:20%
that you need to know
if you want to know tango.

00:19:35.584 --> 00:19:37.975 position:20%
-Nice.
Well, I don't know tango,

00:19:37.999 --> 00:19:39.518
because even though
I can play the violin,

00:19:39.542 --> 00:19:41.393
I don't know how to do it
like he can do it.

00:19:41.417 --> 00:19:43.975
So he needs to teach me.

00:19:43.999 --> 00:19:45.975
-Yeah, well,
he knows everything.

00:19:45.999 --> 00:19:47.935
So you can show him
your secrets.

00:19:47.959 --> 00:19:49.435 line:20%
[ Laughter ]

00:19:49.459 --> 00:19:50.751 line:20%
-Bueno, acá también tenemos
los portamentos, sí?

00:19:50.999 --> 00:19:54.852 line:20%
Vamos a ver este pasaje,
por ejemplo.

00:19:54.876 --> 00:19:56.959 line:20%
♪♪

00:20:03.500 --> 00:20:06.727 line:20%
-Eso.

00:20:06.751 --> 00:20:07.975 line:20%
Y también tenemos dentro
de la parte rítmica

00:20:07.999 --> 00:20:10.226 line:20%
tenemos algunos efectos
que hacemos los violinistas.

00:20:10.250 --> 00:20:12.975 position:20% line:20%
De Caro hacía mucho de eso.

00:20:12.999 --> 00:20:14.310 line:20%
Uno es el tambor.

00:20:14.334 --> 00:20:16.226 line:20%
♪♪

00:20:16.250 --> 00:20:17.975 line:20%
-How are you doing that?

00:20:17.999 --> 00:20:19.999 position:20% line:20%
-Que hay que poner la uña,
apoyarla en la cuerda sol.

00:20:21.584 --> 00:20:25.268 line:20%
-Okay, you're using your nail?
-Yeah.

00:20:25.292 --> 00:20:27.976 position:20% line:20%
-Puedes hacer un pizzicato.

00:20:28.000 --> 00:20:30.768
-Think about it.

00:20:30.792 --> 00:20:31.975
Tango is danceable music,
but without a drum set.

00:20:31.999 --> 00:20:35.560
-Aha, so this is both
the melodic instrument

00:20:35.584 --> 00:20:37.975
and the percussive
instrument all in one.

00:20:37.999 --> 00:20:40.560
-Exactly, exactly.
-Hmm.

00:20:40.584 --> 00:20:41.975 line:20%
-Golpeando la uña.
Eso.

00:20:41.999 --> 00:20:44.643 line:20%
Perfecto.

00:20:44.667 --> 00:20:46.101 line:20%
-[ Chuckles ]
-It's hard to do.

00:20:46.125 --> 00:20:48.975 line:20%
-Sí, y también --

00:20:48.999 --> 00:20:50.685 line:20%
Bueno, se puede hacer como...

00:20:50.709 --> 00:20:52.975 line:20%
[ Strings play "drum" ]

00:20:52.999 --> 00:20:55.810 line:20%
-Redoble.

00:20:55.834 --> 00:20:57.643 line:20%
[ Laughter ]

00:20:57.667 --> 00:20:58.975 line:20%
-I can't do that. Forget it.

00:20:58.999 --> 00:21:01.310 line:20%
-Y también tenemos
la chicharra,

00:21:01.334 --> 00:21:03.417 line:20%
que se toca en la cuerda Re
en el hilo.

00:21:03.751 --> 00:21:06.975 line:20%
-Okay.

00:21:06.999 --> 00:21:07.975 line:20%
Acá atrás del puente.

00:21:07.999 --> 00:21:09.101 position:20% line:20%
[ Strings play "cicada" ]

00:21:09.125 --> 00:21:10.310 line:20%
-Huh.

00:21:10.334 --> 00:21:12.667 position:20% line:20%
[ Strings play "cicada" ]

00:21:13.250 --> 00:21:16.435 line:20%
Oh.

00:21:16.459 --> 00:21:17.975 line:20%
-Yes.
-Oh, wow.

00:21:17.999 --> 00:21:19.518 line:20%
Where you put the bow...

00:21:19.542 --> 00:21:21.185 line:20%
When I've played Piazzolla
before,

00:21:21.209 --> 00:21:22.393 line:20%
I've always tried
to make that noise.

00:21:22.417 --> 00:21:24.393 line:20%
But I've done it here
[Strings play "cicada"]

00:21:24.417 --> 00:21:27.435 line:20%
and it always sounded like
somebody mopping the floor.

00:21:27.459 --> 00:21:30.351 line:20%
I didn't realize it was
on the D string,

00:21:30.375 --> 00:21:32.975 line:20%
and I didn't realize
that it matters

00:21:32.999 --> 00:21:34.685 position:20% line:20%
where you place your bow.

00:21:34.709 --> 00:21:36.560 position:20% line:20%
So, can you do yours again?

00:21:36.584 --> 00:21:38.143 line:20%
Una vez más, por favor.
 -Sí.

00:21:38.167 --> 00:21:40.059 position:20% line:20%
[ Strings play "cicada" ]

00:21:40.083 --> 00:21:42.334 line:20%
♪♪

00:21:43.083 --> 00:21:46.476
-I see. Okay.

00:21:46.500 --> 00:21:48.101
-Everything you're discussing --
the staccato, the portamento --

00:21:48.125 --> 00:21:50.435 position:20%
you can find all that
in Julio de Caro's music.

00:21:50.459 --> 00:21:54.059
But you can find all that
in Piazzolla's music, as well.

00:21:54.083 --> 00:21:57.518 position:20%
-Who developed these extended
techniques for the violin?

00:21:57.542 --> 00:22:00.852
Was it Julio de Caro?
Who made it?

00:22:00.876 --> 00:22:03.810 position:20%
-Part of it is De Caro's.

00:22:03.834 --> 00:22:05.975
And part of it comes
from before.

00:22:05.999 --> 00:22:08.975
-Because this is really
very inventive

00:22:08.999 --> 00:22:12.226
to use the violin in that way.

00:22:12.250 --> 00:22:13.768
This is not how you're supposed
to use the violin.

00:22:13.792 --> 00:22:15.976
-No, no, no.
-But it sounds good.

00:22:16.000 --> 00:22:17.975
-Yeah, yeah, yeah.
We love to do

00:22:17.999 --> 00:22:19.852
what's wrong
with our instruments...

00:22:19.876 --> 00:22:21.975
-Great.
-...like go against

00:22:21.999 --> 00:22:23.518
the academia sometimes
to make it our own.

00:22:23.542 --> 00:22:27.101
I mean, you have to play well,
right?

00:22:27.125 --> 00:22:28.894
But then we have our tricks.

00:22:28.918 --> 00:22:30.185
-And break the rules
a little bit.

00:22:30.209 --> 00:22:31.435
Selectively, break the rules.
-Yeah.

00:22:31.459 --> 00:22:33.975
And also, remember
that this music

00:22:33.999 --> 00:22:35.709
was originally created
by intuitive musicians.

00:22:36.334 --> 00:22:40.018
-That's great.
Let's play this piece.

00:22:40.042 --> 00:22:42.810
-Absolutely,
we can play this piece.

00:22:42.834 --> 00:22:44.999
But before, we have to
show you something

00:22:45.000 --> 00:22:48.894
because it's a little surprise.
-Okay.

00:22:48.918 --> 00:22:51.185
-Because Julio de Caro
was so famous

00:22:51.209 --> 00:22:53.459 position:20%
that the RCA Victor label
gave him a special gift --

00:22:53.626 --> 00:22:57.810
a special violin that he used
for all his famous recordings,

00:22:57.834 --> 00:23:01.143
which is the violin corneta.

00:23:01.167 --> 00:23:03.518
-Wow. This is bizarre.
-[ Chuckles ]

00:23:03.542 --> 00:23:05.975
-I'm going to swap you.

00:23:05.999 --> 00:23:08.768
-Have you ever seen one?
-I've never seen this before.

00:23:08.792 --> 00:23:11.975
-Should I try a little bit?
-Please.

00:23:11.999 --> 00:23:14.292
♪♪

00:23:18.584 --> 00:23:22.393
-I mean, it's so strange
because I feel like

00:23:22.417 --> 00:23:24.975
I'm playing a brass instrument.

00:23:24.999 --> 00:23:26.584
It's so strange.
It's like child's fairy tale.

00:23:27.209 --> 00:23:30.560
[ Laughter ]

00:23:30.584 --> 00:23:31.975
Half zebra, half alligator,
or something.

00:23:31.999 --> 00:23:34.018
That's what this is.
-Absolutely, absolutely.

00:23:34.042 --> 00:23:36.101 position:20%
It's like the love child
of a trumpet and a violin.

00:23:36.125 --> 00:23:38.975
[ Laughter ]

00:23:38.999 --> 00:23:41.059
-Alright, I'm going to
put this down,

00:23:41.083 --> 00:23:42.476
and let's play some music.
-Yeah, let's do it.

00:23:42.500 --> 00:23:44.626 line:20%
♪♪

00:23:50.042 --> 00:23:53.292 line:20%
♪♪

00:23:58.709 --> 00:24:01.959 line:20%
♪♪

00:24:07.375 --> 00:24:10.626 line:20%
♪♪

00:24:16.042 --> 00:24:19.292 line:20%
♪♪

00:24:24.709 --> 00:24:27.959 line:20%
♪♪

00:24:33.375 --> 00:24:36.626 line:20%
♪♪

00:24:42.042 --> 00:24:45.292 line:20%
♪♪

00:24:50.709 --> 00:24:53.959 line:20%
♪♪

00:24:59.375 --> 00:25:02.626 line:20%
♪♪

00:25:08.042 --> 00:25:11.292 line:20%
♪♪

00:25:16.709 --> 00:25:19.959 line:20%
♪♪

00:25:24.667 --> 00:25:28.560
-As night falls, Argentines
come out to dance,

00:25:28.584 --> 00:25:32.101
a tradition alive
from the 1940s,

00:25:32.125 --> 00:25:35.018
when tango reached
the height of its popularity.

00:25:35.042 --> 00:25:38.250
You can still find dance halls
across the city's many barrios.

00:25:38.709 --> 00:25:41.935
♪♪

00:25:41.959 --> 00:25:44.975
-So, here we are.

00:25:44.999 --> 00:25:48.059
Welcome to Salon Canning,
the true house of tradition.

00:25:48.083 --> 00:25:52.101
You know, here, every night,
the best tango dancers

00:25:52.125 --> 00:25:54.975
gather together to dance tango.

00:25:54.999 --> 00:25:57.935
The room is so beautiful,
you'll see.

00:25:57.959 --> 00:25:59.975 position:20%
They also have one of the best
floors for tango dancing.

00:25:59.999 --> 00:26:03.975
Not only are we going to enjoy
the night here,

00:26:03.999 --> 00:26:05.810
watching people dancing,

00:26:05.834 --> 00:26:07.393
but we have a surprise
for you guys.

00:26:07.417 --> 00:26:09.975
You're going to have
a tango lesson

00:26:09.999 --> 00:26:11.101
with one of the most
amazing tango choreographers

00:26:11.125 --> 00:26:14.518
in the city -- Melina Brufman.
Let's go.

00:26:14.542 --> 00:26:17.250 line:20%
♪♪

00:26:21.999 --> 00:26:25.125 line:20%
♪♪

00:26:29.751 --> 00:26:32.999 line:20%
♪♪

00:26:37.709 --> 00:26:40.959 line:20%
♪♪

00:26:45.167 --> 00:26:48.852 line:20%
-Wow.
-[ Laughing ] Oh!

00:26:48.876 --> 00:26:50.751 line:20%
[ Applause ]

00:26:53.083 --> 00:26:54.727
-Hey. Welcome.
-Wow.

00:26:54.751 --> 00:26:56.727
-Welcome.
-Thank you very much.

00:26:56.751 --> 00:26:58.810 position:20%
-You're the world's best.

00:26:58.834 --> 00:27:00.059
-Thank you very much.
-Thank you very much.

00:27:00.083 --> 00:27:01.560
-So, this is tango.
-Oh, yes, this is tango.

00:27:01.584 --> 00:27:04.518 position:20%
This is a perfect expression
of the tango in the '40s,

00:27:04.542 --> 00:27:07.976
the golden age of tango.
Right?

00:27:08.000 --> 00:27:09.975
Because now you have
a bigger orchestra

00:27:09.999 --> 00:27:12.143
than in the '20s
and in the '30s.

00:27:12.167 --> 00:27:14.226
And this is a great orchestra
à la Pichuco,

00:27:14.250 --> 00:27:16.268
re-creating the style
of the great Aníbal Troilo.

00:27:16.292 --> 00:27:19.560 position:20%
It's an important orchestra
because in that orchestra,

00:27:19.584 --> 00:27:22.518
a young Astor Piazzolla
played the bandoneón.

00:27:22.542 --> 00:27:25.268
But over time,
he became one of

00:27:25.292 --> 00:27:27.935
the main arrangers
of this orchestra.

00:27:27.959 --> 00:27:29.975 position:20%
-Oh.
-Actually, let me show you

00:27:29.999 --> 00:27:32.209
a little picture --
an original picture from 1941.

00:27:32.417 --> 00:27:36.018
What you can see --
-Who's Troilo?

00:27:36.042 --> 00:27:38.226
-This is Troilo playing
the bandoneón --

00:27:38.250 --> 00:27:41.059
first bandoneón --
and this is the young

00:27:41.083 --> 00:27:42.975
Astor Piazzolla...
-Oh!

00:27:42.999 --> 00:27:44.018
-...playing beside him.
-So, this man Troilo

00:27:44.042 --> 00:27:47.542
was like a mentor for Piazzolla,
support him?

00:27:47.999 --> 00:27:51.935 position:20%
-Absolutely.
Not only he was a mentor,

00:27:51.959 --> 00:27:54.018
but he was asking him
to push the limits

00:27:54.042 --> 00:27:56.768
of what was possible
in tango music writing, right?

00:27:56.792 --> 00:28:00.226
-So, these bandoneón players
right here

00:28:00.250 --> 00:28:02.083 position:20%
are the musical descendants
of Troilo and Piazzolla?

00:28:02.667 --> 00:28:06.393
-I think every single
bandoneón player

00:28:06.417 --> 00:28:08.685
is a Troilo descendant, right?
-[ Chuckles ]

00:28:08.709 --> 00:28:11.226
-Yes, because he created
a new way of playing.

00:28:11.250 --> 00:28:13.560
Not only combining
the virtuoso part of it,

00:28:13.584 --> 00:28:16.518
but playing
from the heart to the heart.

00:28:16.542 --> 00:28:19.975
-How does it feel to dance
with a live orchestra,

00:28:19.999 --> 00:28:23.393
versus a recording?

00:28:23.417 --> 00:28:25.059
Does it feel different to you?
-Very different.

00:28:25.083 --> 00:28:27.226
-Do you feel them?
-Very, very different.

00:28:27.250 --> 00:28:29.143
-Very different.
Much better with them.

00:28:29.167 --> 00:28:32.975
-Also, you got to understand
that by the '40s,

00:28:32.999 --> 00:28:35.351
there were so many
tango orchestras,

00:28:35.375 --> 00:28:37.059
because tango was
so commercially successful,

00:28:37.083 --> 00:28:39.667 position:20%
that the different orchestral
styles started to develop.

00:28:40.334 --> 00:28:44.226
At the same time,
the different dancing style

00:28:44.250 --> 00:28:46.685 position:20%
started to develop in the
different neighborhoods.

00:28:46.709 --> 00:28:48.975
-Right?
-Yeah, yeah.

00:28:48.999 --> 00:28:50.602
So you have center style,
you have Villa Urquiza style.

00:28:50.626 --> 00:28:53.518
People will dance,
embrace differently.

00:28:53.542 --> 00:28:55.185
-But this is
all in Buenos Aires?

00:28:55.209 --> 00:28:56.975
-In Buenos Aires.
But different neighborhoods

00:28:56.999 --> 00:28:59.975
develop different ways
to dance the same tango,

00:28:59.999 --> 00:29:03.018
but very, very different
when you see it.

00:29:03.042 --> 00:29:05.975
Because also, at the same time,

00:29:05.999 --> 00:29:07.518
every dancer needs to develop
their own identity.

00:29:07.542 --> 00:29:11.101
So you will find out right now,
because we are going to

00:29:11.125 --> 00:29:14.185
teach you a basic step.
-Okay.

00:29:14.209 --> 00:29:15.894
-So you're going to try now.
You want?

00:29:15.918 --> 00:29:17.727
-This is like Stephen Hawking
teaching arithmetic

00:29:17.751 --> 00:29:20.018
or something.
It's ridiculous.

00:29:20.042 --> 00:29:21.101
-Let's see what Missouri style
is like.

00:29:21.125 --> 00:29:23.935
-Yeah, yeah, you'll see,
everybody can dance.

00:29:23.959 --> 00:29:25.560
-I think you can do it.
-We'll give it a try.

00:29:25.584 --> 00:29:28.143
-I'll enjoy it from there.
-Okay.

00:29:28.167 --> 00:29:30.226
-We'll show you first,
and then it's your turn, okay?

00:29:30.250 --> 00:29:32.059
-Okay, sure.
-Ooh.

00:29:32.083 --> 00:29:33.685 line:20%
-We have eight steps.

00:29:33.709 --> 00:29:35.167 line:20%
One, two, three, four, five,
stepping.

00:29:37.375 --> 00:29:40.852 line:20%
-I'm already lost.

00:29:40.876 --> 00:29:42.643 line:20%
-Six, seven, and eight.

00:29:42.667 --> 00:29:45.226 line:20%
-Okay. Can you do that again?
-Let's do this, let's do this.

00:29:45.250 --> 00:29:47.351 line:20%
Scott, behind me.
-Alice, behind me.

00:29:47.375 --> 00:29:50.476 line:20%
-Okay.
-This would be very helpful.

00:29:50.500 --> 00:29:52.018 line:20%
-Leandro, Alice, beside me.
Let's copy.

00:29:52.042 --> 00:29:55.125 line:20%
-Okay.
And one, two, three, four...

00:29:58.999 --> 00:30:02.351 line:20%
-Oh.
-Five.

00:30:02.375 --> 00:30:04.894 line:20%
-It's time for
the lady to cross.

00:30:04.918 --> 00:30:06.935 position:20% line:20%
-Okay.
-We change the weight now.

00:30:06.959 --> 00:30:09.143 line:20%
-Okay.
-Left for the guy.

00:30:09.167 --> 00:30:11.876 line:20%
Six, seven, and finish it.
That's it.

00:30:12.167 --> 00:30:15.852 line:20%
-Okay.
-That's very good.

00:30:15.876 --> 00:30:16.975
We're going to try
with the music.

00:30:16.999 --> 00:30:18.975
-Okay.
-But for managing the room,

00:30:18.999 --> 00:30:21.393
you're going to dance with me,
if you please.

00:30:21.417 --> 00:30:23.935
And Alice is going to dance
with Leandro.

00:30:23.959 --> 00:30:25.935
-Is that okay?
-That's great.

00:30:25.959 --> 00:30:27.018
-I apologize in advance.
[ Laughs ]

00:30:27.042 --> 00:30:28.518
-Where do we start?
-You're doing great.

00:30:28.542 --> 00:30:29.975
-So, we start from here.
-Okay.

00:30:29.999 --> 00:30:31.959 line:20%
♪♪

00:30:35.209 --> 00:30:38.459 line:20%
♪♪

00:30:41.375 --> 00:30:44.999 position:20% line:20%
[ Indistinct conversation ]

00:30:45.000 --> 00:30:48.250 line:20%
♪♪

00:30:53.999 --> 00:30:57.167 line:20%
♪♪

00:31:02.626 --> 00:31:05.975
-Oh!
-You did great.

00:31:05.999 --> 00:31:08.143
-[ Chuckles ]
That was so much fun!

00:31:08.167 --> 00:31:10.435
-[ Laughs ]
-Okay, you know what?

00:31:10.459 --> 00:31:12.975
I would like to see the masters.
-Okay.

00:31:12.999 --> 00:31:16.935
-Would you mind doing one?
Of course, yes.

00:31:16.959 --> 00:31:18.999
-Melina?
-Claro que sí.

00:31:22.000 --> 00:31:23.334 line:20%
♪♪

00:31:28.417 --> 00:31:31.667 line:20%
♪♪

00:31:36.751 --> 00:31:39.999 line:20%
♪♪

00:31:45.083 --> 00:31:48.334 line:20%
♪♪

00:31:53.500 --> 00:31:56.751 line:20%
♪♪

00:32:01.834 --> 00:32:04.999 line:20%
♪♪

00:32:10.167 --> 00:32:13.417 line:20%
♪♪

00:32:17.834 --> 00:32:21.643 line:20%
-Carlos Rossi, a revered
master of the tango,

00:32:21.667 --> 00:32:24.685 line:20%
joined us to sing oneúof Troilo's most beloved tunes.

00:32:24.709 --> 00:32:28.542 line:20%
-♪ Paredón, tinta roja
 en el gris del ayer ♪

00:32:30.250 --> 00:32:34.000 line:20%
@♪
Tu emoción de ladrillo feliz ♪

00:32:34.375 --> 00:32:38.334 line:20%
♪ Sobre mi callejón,
con un borrón ♪

00:32:38.999 --> 00:32:42.476 line:20%
♪ Pintó la esquina♪

00:32:42.500 --> 00:32:45.185 line:20%
♪ Y al botón,
 que en el ancho de la noche ♪

00:32:45.209 --> 00:32:48.059 line:20%
♪ Puso al filo de la ronda,
 como un broche ♪

00:32:48.083 --> 00:32:51.518 line:20%
♪ Y aquel buzón carmín ♪

00:32:51.542 --> 00:32:54.999 line:20%
♪ Y aquel fondín
donde lloraba el tano ♪

00:32:55.209 --> 00:32:59.417 line:20%
♪ Su rubio amor lejano,
 que mojaba con bon vin ♪

00:33:02.999 --> 00:33:06.876 line:20%
♪ Dónde estará mi arrabal?♪

00:33:06.999 --> 00:33:10.727 line:20%
♪ Quién se robó mi niñez?♪

00:33:10.751 --> 00:33:14.310 line:20%
♪ En qué rincón, luna mía♪

00:33:14.334 --> 00:33:17.167 line:20%
♪ Volcás como entonces
 tu clara alegría?♪

00:33:17.375 --> 00:33:21.542 line:20%
♪ Veredas que yo pisé,
malevos que ya no son ♪

00:33:24.999 --> 00:33:28.643 line:20%
♪Bajo tu cielo de raso ♪

00:33:28.667 --> 00:33:30.667 line:20%
♪ Trasnocha un pedazo
 de mi corazón ♪

00:33:32.042 --> 00:33:35.727 line:20%
[ Instrumental music plays ]

00:33:35.751 --> 00:33:37.999 line:20%
♪♪

00:33:43.542 --> 00:33:46.792 line:20%
♪♪

00:33:52.375 --> 00:33:55.626 line:20%
♪♪

00:34:00.209 --> 00:34:04.375 line:20%
♪ Veredas que yo pisé,
malevos que ya no son ♪

00:34:08.042 --> 00:34:11.894 line:20%
♪Bajo tu cielo de raso ♪

00:34:11.918 --> 00:34:13.542 line:20%
♪ Trasnocha un pedazo
 de mi corazón ♪

00:34:14.709 --> 00:34:17.975 line:20%
[ Music stops ]

00:34:17.999 --> 00:34:20.727
-Downtown,

00:34:20.751 --> 00:34:22.393
at the Emilio Balcarce
Tango Orchestra School,

00:34:22.417 --> 00:34:25.351
another old master,
Victor Lavallén,

00:34:25.375 --> 00:34:28.417
teaches golden-age standards
to a new generation.

00:34:28.584 --> 00:34:31.975 line:20%
-Entendió?

00:34:31.999 --> 00:34:32.976 line:20%
Vamos a hacerlo
los bandoneones solos.

00:34:33.000 --> 00:34:34.310 position:20% line:20%
Después hacemos todos, eh?

00:34:34.334 --> 00:34:35.975 line:20%
Vamos.
Uno, dos, tres.

00:34:35.999 --> 00:34:38.751 line:20%
♪♪

00:34:41.667 --> 00:34:45.792 line:20%
-Ignacio, of course, is also
the artistic director here.

00:34:46.709 --> 00:34:49.935 line:20%
♪♪

00:34:49.959 --> 00:34:52.975 line:20%
-Perfecto.
Así es.

00:34:52.999 --> 00:34:54.751
-How many tango schools
are like this in the world?

00:34:55.125 --> 00:34:58.810
-Well, not many.
Not many.

00:34:58.834 --> 00:35:00.518
But I can tell you,
when we started 22 years ago,

00:35:00.542 --> 00:35:03.351
it was pretty much the only one.
-Zero.

00:35:03.375 --> 00:35:05.751
-Yes, but other schools started
to blossom around the world.

00:35:07.375 --> 00:35:10.976
-You have children now.
-Yes, yes.

00:35:11.000 --> 00:35:12.751
Over the years, we have
like over 300 graduates.

00:35:13.584 --> 00:35:16.976 position:20%
And many of those are from

00:35:17.000 --> 00:35:18.975
different countries
around the world,

00:35:18.999 --> 00:35:19.975
so they get back
to their countries

00:35:19.999 --> 00:35:21.975
and teach what they learn here.

00:35:21.999 --> 00:35:23.518
-So there are a lot of young
people who like tango...

00:35:23.542 --> 00:35:25.975
-Oh, yeah.
-...and are interested

00:35:25.999 --> 00:35:27.185
in making tango part
of their artistic life.

00:35:27.209 --> 00:35:29.185
I think that's so heartening.
-Absolutely.

00:35:29.209 --> 00:35:31.226
And it takes a great commitment,
not only to study

00:35:31.250 --> 00:35:33.975
to be good enough
to enter the school,

00:35:33.999 --> 00:35:36.351
but also to stay here working
with us for two full years.

00:35:36.375 --> 00:35:40.185
But they understand,
this is the house of tradition.

00:35:40.209 --> 00:35:43.518 position:20%
And as Gustav Mahler said,

00:35:43.542 --> 00:35:45.310
tradition is not
to worship the ashes,

00:35:45.334 --> 00:35:47.975
but to pass the torch.

00:35:47.999 --> 00:35:49.852
So, we don't only have
Victor here,

00:35:49.876 --> 00:35:51.685
we also have the great
new masters of tango,

00:35:51.709 --> 00:35:55.018
like the great Guillermo Rubino
on the violin.

00:35:55.042 --> 00:35:57.476
Why don't you join him
with your violin?

00:35:57.500 --> 00:35:59.975
-Oh, that'd be great.
-Come on.

00:35:59.999 --> 00:36:02.059
-Okay, I don't want to ruin
this piece of music

00:36:02.083 --> 00:36:05.602
that you're about to play,
so tell me what I need to know.

00:36:05.626 --> 00:36:07.518
-The important thing
that you have to know is

00:36:07.542 --> 00:36:09.185 position:20%
how to use the bow
in the rhythmic melodies,

00:36:09.209 --> 00:36:11.975
and how to play short.

00:36:11.999 --> 00:36:14.250 position:20%
It is not the normal way,
the classical way, like...

00:36:14.417 --> 00:36:17.643
♪♪

00:36:17.667 --> 00:36:19.435
-That's how I'd do it.
-It's okay in classical music.

00:36:19.459 --> 00:36:21.976 position:20%
But here in tango, it's...

00:36:22.000 --> 00:36:23.894
♪♪

00:36:23.918 --> 00:36:26.518
Let's play together here.
Can you play?

00:36:26.542 --> 00:36:29.626
-That sounds as short as cutting
a toenail or something.

00:36:30.042 --> 00:36:33.975
It's so quick.
-It has to be very percussive.

00:36:33.999 --> 00:36:37.727
-I don't know if I can do this.
-Yeah, yeah, try.

00:36:37.751 --> 00:36:40.351
Yes, you know --
-How do you get it so short?

00:36:40.375 --> 00:36:42.935 line:20%
-It has to be in the frog,
but here.

00:36:42.959 --> 00:36:44.727
@It's very similar to pizzicato.

00:36:44.751 --> 00:36:47.643 line:20%
But with the bow.
-Wow.

00:36:47.667 --> 00:36:50.209 line:20%
-And the secret is to useúour wrist and finger very free.

00:36:50.999 --> 00:36:54.101 line:20%
♪♪

00:36:54.125 --> 00:36:55.518 position:20%
Yes. Don't move your arm,

00:36:55.542 --> 00:36:57.935
just the wrist.

00:36:57.959 --> 00:36:59.876
And out, out, out.

00:37:00.083 --> 00:37:03.268
Ah.

00:37:03.292 --> 00:37:05.018
-I feel like a beginner.
-[ Chuckling ] No.

00:37:05.042 --> 00:37:07.310
-But I do.
-Okay, at the beginning,

00:37:07.334 --> 00:37:09.185
it will be like that.
It's practice.

00:37:09.209 --> 00:37:11.727
-Is this the hardest thing for
a classically trained violinist

00:37:11.751 --> 00:37:15.310
to get for tango?
It's this, right?

00:37:15.334 --> 00:37:17.852
-Totally.
-This is the hardest.

00:37:17.876 --> 00:37:18.975
Yes, yes, because
it's totally different.

00:37:18.999 --> 00:37:20.975
-Well, I'm not going to master
this, of course,

00:37:20.999 --> 00:37:23.975
but can we play
and can the maestro conduct,

00:37:23.999 --> 00:37:25.975
and can we play
everybody together?

00:37:25.999 --> 00:37:27.810
-Yes, of course.
-Let's try that.

00:37:27.834 --> 00:37:29.810
-Victor?
Podemos contar?

00:37:29.834 --> 00:37:31.310
Sí, sí.

00:37:31.334 --> 00:37:31.975 line:20%
-Un, dos, tres.

00:37:31.999 --> 00:37:34.292 line:20%
♪♪

00:37:39.209 --> 00:37:42.459 line:20%
♪♪

00:37:47.375 --> 00:37:50.626 line:20%
♪♪

00:37:55.584 --> 00:37:58.834 line:20%
♪♪

00:38:03.834 --> 00:38:06.999 line:20%
♪♪

00:38:12.042 --> 00:38:15.292 line:20%
♪♪

00:38:20.209 --> 00:38:23.459 line:20%
♪♪

00:38:28.375 --> 00:38:31.626 line:20%
♪♪

00:38:36.751 --> 00:38:39.975 line:20%
-Uno.

00:38:39.999 --> 00:38:41.250 line:20%
♪♪

00:38:46.542 --> 00:38:49.792 line:20%
♪♪

00:38:55.042 --> 00:38:58.292 line:20%
♪♪

00:39:03.042 --> 00:39:06.935 line:20%
-As golden-age tango
got comfortable,

00:39:06.959 --> 00:39:09.059 line:20%
Piazzolla grew restless.

00:39:09.083 --> 00:39:11.185 line:20%
He started including rhythms
and chord progressions

00:39:11.209 --> 00:39:13.975 line:20%
from classical, jazz,
and Brazilian music

00:39:13.999 --> 00:39:16.975 line:20%
in his arrangements.

00:39:16.999 --> 00:39:18.584 line:20%
♪♪

00:39:23.709 --> 00:39:26.959 line:20%
♪♪

00:39:32.042 --> 00:39:35.292 line:20%
♪♪

00:39:39.709 --> 00:39:43.518 line:20%
In the midcentury-modern
San Martín theater,

00:39:43.542 --> 00:39:46.435 line:20%
Juan Roque Alsina
and his quartet

00:39:46.459 --> 00:39:49.018 line:20%
would tell me
about the beginnings

00:39:49.042 --> 00:39:50.518 line:20%
of the rift
between Piazzolla and tango.

00:39:50.542 --> 00:39:53.626 line:20%
♪♪

00:39:57.999 --> 00:40:01.125 line:20%
♪♪

00:40:05.250 --> 00:40:08.500 line:20%
♪♪

00:40:12.709 --> 00:40:15.959 line:20%
♪♪

00:40:20.209 --> 00:40:23.459 line:20%
♪♪

00:40:27.667 --> 00:40:30.918 line:20%
♪♪

00:40:35.042 --> 00:40:38.292 line:20%
♪♪

00:40:41.999 --> 00:40:45.935
Whew! Boy, my hands
are going to bleed.

00:40:45.959 --> 00:40:47.810
[ Laughter ]

00:40:47.834 --> 00:40:49.560 position:20%
So that's Ginastera.
He's great, but he's hard.

00:40:49.584 --> 00:40:52.935
-It is.
-Difficult, difficult.

00:40:52.959 --> 00:40:54.685 position:20%
What's the connection between
Ginastera and Piazzolla?

00:40:54.709 --> 00:40:57.626
-It seems that Piazzolla went
to Arthur Rubinstein concert...

00:40:58.042 --> 00:41:01.935
-One of the greatest
pianists ever.

00:41:01.959 --> 00:41:03.810
-Right.
To show him

00:41:03.834 --> 00:41:05.727
his newly written
piano concerto.

00:41:05.751 --> 00:41:07.542
So, Rubinstein tells him,
"You really like composing?"

00:41:08.042 --> 00:41:11.935
"Yes, I do."
"So, what you should do,

00:41:11.959 --> 00:41:15.143
you should study."
-Mm-hmm.

00:41:15.167 --> 00:41:17.143
-"I can recommend you
to Alberto Ginastera."

00:41:17.167 --> 00:41:20.435
-He obviously wanted to do
something other than tango.

00:41:20.459 --> 00:41:23.268
He's already trying to go
into the classical direction.

00:41:23.292 --> 00:41:26.375
-By the time, he was
the leading tango arranger.

00:41:26.584 --> 00:41:30.602
So, yeah, there was something
in the back of his mind

00:41:30.626 --> 00:41:32.918
telling him, "We have to move
maybe to another direction,

00:41:33.334 --> 00:41:36.894
or try to go that way."

00:41:36.918 --> 00:41:38.852 position:20%
-Obviously, he really did learn
something from Ginastera.

00:41:38.876 --> 00:41:41.975
-Well, Piazzolla later in life,
he said,

00:41:41.999 --> 00:41:44.185
"My three teachers
in life were tango,

00:41:44.209 --> 00:41:47.751
Buenos Aires,
and Ginastera."

00:41:50.542 --> 00:41:54.310
-In the beautiful
Palermo neighborhood,

00:41:54.334 --> 00:41:56.560
Alice and I were invited to one
of the city's best parrillas

00:41:56.584 --> 00:42:00.393
for the food that Argentina
does better than anywhere else.

00:42:00.417 --> 00:42:04.000
[ Indistinct conversations ]

00:42:07.626 --> 00:42:11.500
Our host was Argentine trumpeter
Eugenio Elias.

00:42:12.375 --> 00:42:16.018
-I've heard
that people in Argentina

00:42:16.042 --> 00:42:18.935 position:20%
eat more beef
than anyone in the world.

00:42:18.959 --> 00:42:21.727
-Yes, we do.

00:42:21.751 --> 00:42:23.059
Actually, when I get together
with my friends,

00:42:23.083 --> 00:42:25.226
we have asado, and
we have, like, meat with meat.

00:42:25.250 --> 00:42:28.727
[ Laughter ]
That's it.

00:42:28.751 --> 00:42:29.894
-Meat with meat.
-Yeah.

00:42:29.918 --> 00:42:31.975
-What makes this restaurant
the best in Argentina?

00:42:31.999 --> 00:42:34.976
-I think the produce.

00:42:35.000 --> 00:42:36.999
Like, all the work we do
with the cattling, the meat.

00:42:37.500 --> 00:42:41.459
We also do a process
of dry aging and wet aging.

00:42:42.500 --> 00:42:45.975
Two different processes.

00:42:45.999 --> 00:42:47.393
And the care,
we don't waste anything.

00:42:47.417 --> 00:42:50.975
-Wow.
-Let's go eat some.

00:42:50.999 --> 00:42:52.935
-Okay.
-Thank you.

00:42:52.959 --> 00:42:54.727
-Thank you, chef.
-Bye.

00:42:54.751 --> 00:42:56.584
[ Indistinct conversations ]

00:42:57.500 --> 00:43:00.976
-Thank you.
-You're welcome.

00:43:01.000 --> 00:43:02.975 line:20%
-Look at that. Oh, my God.
[ Laughter ]

00:43:02.999 --> 00:43:06.101 line:20%
-That is unbelievable.

00:43:06.125 --> 00:43:09.602 position:20% line:20%
It makes you remember
that a tomato is a plant.

00:43:09.626 --> 00:43:12.975 line:20%
-[ Laughs ]

00:43:12.999 --> 00:43:14.975 line:20%
-Oh, man.

00:43:14.999 --> 00:43:17.292 line:20%
-No. No.

00:43:17.459 --> 00:43:20.975 line:20%
-No? Oh, no. No, no.
-That...

00:43:20.999 --> 00:43:23.685
-It's the best I've ever had.

00:43:23.709 --> 00:43:25.602
It almost tastes like
foie gras or something.

00:43:25.626 --> 00:43:27.476
-Mm-hmm.
-Amazing.

00:43:27.500 --> 00:43:28.727
-There's so much in it.
-Mm-hmm. So rich, right?

00:43:28.751 --> 00:43:32.101
-It's incredible.
-Mm-hmm.

00:43:32.125 --> 00:43:33.975
-Incredible.

00:43:33.999 --> 00:43:35.810 line:20%
As good as it was,

00:43:35.834 --> 00:43:38.476 line:20%
we weren't here
to talk about the food.

00:43:38.500 --> 00:43:40.351 line:20%
-Mmm.
-Eugenio,

00:43:40.375 --> 00:43:41.768 line:20%
a devoted tango enthusiast,
had a story to tell.

00:43:41.792 --> 00:43:44.975
-So, Piazzolla
is in big turmoil.

00:43:44.999 --> 00:43:47.268
Dancers could not dance
to his music very well.

00:43:47.292 --> 00:43:50.059
-Why?
-Because he was adding

00:43:50.083 --> 00:43:52.810 position:20%
different types of rhythms.

00:43:52.834 --> 00:43:54.351
The rhythm wasn't the same
all the time.

00:43:54.375 --> 00:43:57.143
-Wasn't traditional anymore.
-Right.

00:43:57.167 --> 00:43:59.727
And they hated him.

00:43:59.751 --> 00:44:01.393
Sometimes they even
threw gasoline onto the stage.

00:44:01.417 --> 00:44:04.727 position:20%
Imagine
what could have happened.

00:44:04.751 --> 00:44:07.518
-Yeah, that's dangerous.
-That's serious.

00:44:07.542 --> 00:44:09.351
-Incredible.
And so he just basically

00:44:09.375 --> 00:44:12.685
falls out of love with tango

00:44:12.709 --> 00:44:15.125
and says, "I'm going to
go into classical music.

00:44:15.792 --> 00:44:19.518
And he gets a scholarship
to go to study

00:44:19.542 --> 00:44:23.250 position:20%
with the famous teacher
Nadia Boulanger in Paris.

00:44:23.751 --> 00:44:27.727
So, he gets there, and
after a few months, she asks,

00:44:27.751 --> 00:44:31.643
"Piazzolla, don't you play that
instrument in Argentine music,

00:44:31.667 --> 00:44:34.894
the bandoneón?"
-Oh.

00:44:34.918 --> 00:44:36.768
-And he doesn't want
to admit it,

00:44:36.792 --> 00:44:39.727
but he says, yes.
-Why? Because he's embarrassed.

00:44:39.751 --> 00:44:42.143 position:20%
-He's embarrassed, exactly.

00:44:42.167 --> 00:44:43.975 position:20%
He doesn't want to show her
that he's a tango player,

00:44:43.999 --> 00:44:47.476
a popular music player.

00:44:47.500 --> 00:44:48.975
-Well, and he hasn't gotten over

00:44:48.999 --> 00:44:52.768
the rejection
that he experienced.

00:44:52.792 --> 00:44:54.185
-Of course.
And so he actually --

00:44:54.209 --> 00:44:56.975
the next lesson,
he brings the bandoneón,

00:44:56.999 --> 00:44:59.852
and she asks him
to play for her.

00:44:59.876 --> 00:45:03.226
And she can't believe
what she hears,

00:45:03.250 --> 00:45:06.727 position:20%
and looks at him in the eye

00:45:06.751 --> 00:45:09.975
and says, "Piazzolla,
this is the real you.

00:45:09.999 --> 00:45:13.476
Don't ever leave it."

00:45:13.500 --> 00:45:15.894
So he goes back
to his first love

00:45:15.918 --> 00:45:19.393
in a way that
he never imagined he would.

00:45:19.417 --> 00:45:22.018
Piazzolla integrates
classical and tango.

00:45:22.042 --> 00:45:25.560
And when he comes back,
he adds electric guitar,

00:45:25.584 --> 00:45:28.518
which he had heard
from jazz groups at the time.

00:45:28.542 --> 00:45:32.417 position:20%
And instead of sitting down
like bandoneón players do

00:45:34.334 --> 00:45:37.975
in typical tango orchestras,

00:45:37.999 --> 00:45:40.351
he hated sitting down
because it reminded him

00:45:40.375 --> 00:45:43.975
of grandmas knitting sweaters
or something.

00:45:43.999 --> 00:45:45.975
He actually says that.
-[ Laughs ]

00:45:45.999 --> 00:45:48.560 position:20%
-So he stands up.
And all the possibilities

00:45:48.584 --> 00:45:51.101
of stretching the bandoneón
almost to the floor,

00:45:51.125 --> 00:45:54.250
lifting it up,
and conducting the quintet.

00:45:55.375 --> 00:45:58.976
And he's up front.
He's wiping out

00:45:59.000 --> 00:46:01.685
everything that came before him,

00:46:01.709 --> 00:46:03.417
and changes the course
of the music forever.

00:46:04.042 --> 00:46:07.292 line:20%
♪♪

00:46:12.584 --> 00:46:15.834 line:20%
♪♪

00:46:21.083 --> 00:46:24.334 line:20%
♪♪

00:46:29.667 --> 00:46:32.918 line:20%
♪♪

00:46:37.999 --> 00:46:41.476
-This is five people,

00:46:41.500 --> 00:46:42.768
but it sounds
like one instrument.

00:46:42.792 --> 00:46:45.935
I mean, they can read
each other's minds.

00:46:45.959 --> 00:46:48.935
-I know, right?
It is so arranged,

00:46:48.959 --> 00:46:51.643
so well organized,
but it sounds completely free.

00:46:51.667 --> 00:46:54.810
-Right.

00:46:54.834 --> 00:46:56.476
-And Lautaro --
you can hear him, right?

00:46:56.500 --> 00:46:58.685
This is the closest you'll hear
to Piazzolla's playing.

00:46:58.709 --> 00:47:00.976
He's so dedicated to his style.

00:47:01.000 --> 00:47:03.975
He's been playing this
since he was born.

00:47:03.999 --> 00:47:06.518 position:20%
Actually, he was born
the same day as Piazzolla.

00:47:06.542 --> 00:47:10.018
-What?! That's crazy.
-[ Laughs ]

00:47:10.042 --> 00:47:11.975
-Like fate, right?

00:47:11.999 --> 00:47:13.975
-His parents
planned it that way.

00:47:13.999 --> 00:47:15.709
-[ Laughs ]
-Fate. Amazing.

00:47:17.042 --> 00:47:20.292 line:20%
♪♪

00:47:25.542 --> 00:47:28.792 line:20%
♪♪

00:47:34.042 --> 00:47:37.292 line:20%
♪♪

00:47:42.542 --> 00:47:45.792 line:20%
♪♪

00:47:51.083 --> 00:47:54.334 line:20%
♪♪

00:47:59.584 --> 00:48:02.834 line:20%
♪♪

00:48:08.167 --> 00:48:11.417 line:20%
♪♪

00:48:16.167 --> 00:48:19.975 line:20%
-Piazzolla had come back
to tango,

00:48:19.999 --> 00:48:22.542 line:20%
and eventually tango
came back to him,

00:48:22.709 --> 00:48:26.018 line:20%
as audiences, musicians,

00:48:26.042 --> 00:48:27.976 line:20%
and new composers,
like Diego Schissi, recognized

00:48:28.000 --> 00:48:31.626 position:20% line:20%
Piazzolla's ideas were keeping
tango fresh and relevant.

00:48:32.209 --> 00:48:35.459 line:20%
♪♪

00:48:40.209 --> 00:48:43.459 line:20%
♪♪

00:48:48.209 --> 00:48:51.459 line:20%
♪♪

00:48:56.083 --> 00:48:59.334 line:20%
♪♪

00:49:04.042 --> 00:49:07.292 line:20%
♪♪

00:49:11.792 --> 00:49:15.101 line:20%
Wow!
-[ Chuckles ]

00:49:15.125 --> 00:49:16.727
Diego, this is awesome music.

00:49:16.751 --> 00:49:18.560
I'm ready to become a roadie
for you guys.

00:49:18.584 --> 00:49:20.975
[ Laughs ]
-Thank you very much.

00:49:20.999 --> 00:49:22.435
-I mean, you have
such imagination.

00:49:22.459 --> 00:49:24.894 position:20%
And it's tango, but it's --

00:49:24.918 --> 00:49:26.185
you're stretching it
as far as it will go.

00:49:26.209 --> 00:49:28.768
It's fantastic.
-For us, it is --

00:49:28.792 --> 00:49:30.999 position:20%
we think it --
we relate to a tradition.

00:49:31.042 --> 00:49:34.975
We are very much in love
with the roots of tango.

00:49:34.999 --> 00:49:38.059
I think it has something to do
with the understanding tango

00:49:38.083 --> 00:49:41.310
as a living force
that ever changes, so...

00:49:41.334 --> 00:49:44.185
-Well, Piazzolla lives on
through you.

00:49:44.209 --> 00:49:47.975
-Through us, yes.
-Through you all.

00:49:47.999 --> 00:49:49.435
-Yes.

00:49:49.459 --> 00:49:50.792 line:20%
♪♪

00:49:55.083 --> 00:49:58.334 line:20%
♪♪

00:50:02.334 --> 00:50:05.975
@-In the spirit of modernization,

00:50:05.999 --> 00:50:07.975 line:20%
I chose one of Piazzolla's
famous quintet numbers,

00:50:07.999 --> 00:50:10.727 line:20%
and Ignacio commissioned
a brand-new arrangement

00:50:10.751 --> 00:50:13.351 position:20% line:20%
for violin
and full tango orchestra.

00:50:13.375 --> 00:50:16.292 line:20%
It would give me a chance
to try out my new techniques.

00:50:16.542 --> 00:50:19.792 line:20%
♪♪

00:50:23.709 --> 00:50:26.959 line:20%
♪♪

00:50:31.042 --> 00:50:34.292 line:20%
♪♪

00:50:37.709 --> 00:50:41.310 line:20%
Tango dance has progressed,
too,

00:50:41.334 --> 00:50:43.751 line:20%
incorporating ideasúand movement from modern dance.

00:50:43.999 --> 00:50:47.125 line:20%
♪♪

00:50:52.999 --> 00:50:56.125 line:20%
♪♪

00:51:01.999 --> 00:51:05.125 line:20%
♪♪

00:51:10.999 --> 00:51:14.167 line:20%
♪♪

00:51:19.999 --> 00:51:23.167 line:20%
♪♪

00:51:29.000 --> 00:51:32.250 line:20%
♪♪

00:51:38.000 --> 00:51:41.250 line:20%
♪♪

00:51:47.042 --> 00:51:50.292 line:20%
♪♪

00:51:56.042 --> 00:51:59.292 line:20%
♪♪

00:52:04.417 --> 00:52:08.185 line:20%
In the end,
largely thanks to Piazzolla,

00:52:08.209 --> 00:52:10.976 line:20%
tango lives on,
long after he's gone --

00:52:11.000 --> 00:52:14.852 line:20%
a vibrant,
ever-evolving art form.

00:52:14.876 --> 00:52:17.834 line:20%
♪♪

00:52:23.292 --> 00:52:27.018 line:20%
And if you ever make it
to Buenos Aires,

00:52:27.042 --> 00:52:29.685 line:20%
you can now hear this.

00:52:29.709 --> 00:52:31.999 line:20%
♪♪

00:52:35.751 --> 00:52:38.292
♪♪

00:52:43.375 --> 00:52:46.626
♪♪

00:52:51.709 --> 00:52:54.959
♪♪

00:53:00.709 --> 00:53:03.959
♪♪

00:53:10.375 --> 00:53:13.626 line:20%
♪♪

00:53:19.167 --> 00:53:22.417 line:20%
♪♪

00:53:25.042 --> 00:53:28.292 line:20%
♪♪