Rare Scores: Horacio Salgán
Salgán was always determined to work within the genre boundaries of tango. He wanted his orchestra to have a danceable rhythm, and that the melody could always be recognized. And he accomplished it: his genius pushed those limits with a effortless mastery, and although the form continued to be traditional, the content was revolutionary and deeply propelled by new musical ideas.
There are many classic tangos that bear his signature as composer: “A Fuego Lento,” “Don Agustín Bardi,” “Grillito,” “La Llamo Silbando,” and “Del 1 al 5.” In addition to these, Salgán’s arrangements of existing tangos are so creative that they are widely considered as original as compositions.
The pianist Andrés Linetsky—chosen disciple of Don Horacio plays here a series of pieces for the piano until now only know by the close colleagues and students of the Maestro. This repertory for solo piano includes zambas, tangos, miniatures, and Brazilian music, some of Salgáns own passions. These are the compositions that Don Horacio plays, even today, in the intimacy of his home, compositions which the greater public never knew, a wonderful work available to all at last.
The pianist César Salgán continues the legacy of his father. Leading the “Gran TangoVia Buenos Aires Orchestra” (Grand TangoVia Buenos Aires Orchestra), he recovers here something of enormous musical value: a series of original arrangements of Horacio’s orchestra from the 40s and 50s, a sound that becomes new again for various generations of new Salgán enthusiasts who have never heard these arrangements played live. The repertory includes the re-premiere of tangos and arrangements never recorded or published by his father, music that has not been heard for decades. Here we can hear the never recorded arrangement of “Naranjo en Flor,” originally written for the singer Ángel Díaz, and now finally recorded by Marcelo Tommasi. We also hear for the first time in 50 years a “special” arrangement of “Flores Negras” for piano and strings, and a never-recorded orchestration of “Aquellos Tangos Camperos.”
As a bonus, we decided to include, by Horacio’s own request, three lost pearls: the “Choro en Fa Sostenido”—the first commercial recording Salgán made; the original orchestral version of “Mis Calles Porteñas”—a tango he recorded as a demo in 1946 and never released; and “A César los que es de César,” a fun, jazz-styled piece dedicated to his son César which the maestro Horacio recorded thirty years ago with an organ in his own home. Rare scores!
This is an historic accomplishment—Thank you, Maestro Salgán!