With his own orchestra and guest singers, music and director will present "Tan Goldberg", an album that he feels "like a synthesis of my career".

Analía Goldberg has been directing tango ensembles for years, from the pugliesian Color Tango until the present Chinese Laborde Orchestra, with the renowned frontman. After so many years, his first solo album arrives. The pianist and composer will present Tan Goldberg with his own orchestra in the Sala Argentina del Nestor Kirchner Cultural Center (Sarmiento 151) this Sunday at 20. further, the singers will accompany her Hernán "Cucuza" Castiello and Osvaldo Peredo.

"I feel this album as a synthesis of my career", reflects Goldberg beforePage 12. “I played as an interpreter for many years and when I began to study composition, the interpretation that had already come and that has been intervened throughout my life was mixed, everything one heard and did ". From the baggage he brings, naturally stands outOsvaldo Pugliese (what, also, He watches smiling and with a green scarf from the wall of theOliverio Girondo Cultural Center, that goldbergdirectsartistically), but also to Piazzolla, Troilo and Salgán. "I like the oldest but at a testimonial level: the sounds have remained, for my criteria, a little old ", notes. “When you study composition, you go through different techniques, you acquire new colors., forms that you did not have before ", adds.

–And rhythms?
-Not much. In "Murguita" I took the murguero touch and put it in the middle. But it's actually a tango-milonga, and it has the murguera thing inside, like cymbals and hype. Or in “Kukele” a very long violin cadence is incorporated, which is not usual in tango records. “Kukele” also has a very debussyana, with particular colors and a way of writing that has to do with an era. That mixed with tango gives a very particular result.

–Just "Kukele" if it distinguishes sonorously from the rest of the disc.
-I wanted to capture that sound, those two layers of chords, that interact but still feel like different and harmonic layers.

–It's a very personal album, you could have made an album with your other bands. Why did you choose a solo album?
-Because it is the process that I was doing. that of compose my music. I don't know if I am so interested in doing covers at the moment or playing old tangos, from other composers. I do it too and in the CCK repertoire I'm going to do a lot of classics. I love to play them and there are even a couple on the record. But it is the way of the artist: one learns by copying the others and then gives their own opinion. All the tangueros who were personalities began as participants of other orchestras and then made their own way. Because that's the challenge: bring your own sound. It's part of the art. Contribute the vision of each person.

-¿This leg of a cultural manager here in Oliverio gets into your musical work?
-Yes, Because I'm tired! But nothing else. I would like to live entirely from music, but not making someone else's music. I have already passed the sessionist stage and now my goal is to give my own opinion on all that.

–You use the word "opinion" a lot, what do you think? What do you mean by your tango?
-I try to get rid of all prejudices when composing. I let it arise and try to follow that idea that just appears from an unconscious place, from a place not very to choice.

–And with the work there?
-You follow that and you don't know what's going to happen. I was not especially looking for mine to be tango. But when I hear it, I can not believe it, I get out of the chair to dance it. I never did it too consciously. That is why I say that it is the result of all the things that I went through. There are twists that define tango and my musical language has them. Much. Even in "Kukele" or songs like "La pucha", which are more rare. "La Pucha" has as a habanera in the middle, has a particular shape: when the voice sings, stop playing the piano, in the sung parts there is a medium acoustic insturmentation and then there are the tuttis that complete. And what he talks about, because he uses very tango words, but I listen to it as a Buenos Aires of now, Very current. That text has new things, words that were not used before.

–You worked in the role of director for a long time, when there were few women leading tango projects. What changed since your beginnings?
-Fundamentally the sisterhood and the fellowship between us. We no longer compete for a man to help us or give us a place, but for our independence and our rights. In my case when I make music I think about music and when I do politics I think about politics. The two things mixed up on stage do not interest me as an artistic product because I think that art is not something pamphlet, it's more from the realm of the unconscious. And of course I always want it to sound good and look for the people who sound better and in that sense I don't pay attention to whether they are men or women.. Yes luckily I have always worked with many women, singers in my group, instrumentalists. So I never bothered about it.

Source: Andrés Valenzuela – Page 12 – 22 September 2019