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Author: Tarantino Luis Ways of Leopoldo Federico - maestro of the
bandonion
The genius of Leopoldo Federico is single among the
alive bandoneonists of this long history of the tango.
L Federico syntétise by its artistic trajectory all currents,
the traditional ones and evolutionists of the tango. Its
phrased, its manner of interpreting, move us beyond his virtuosity
recognized as a bandoneonist. Federico reached tops of
interpretation as little made a success of.
In its long career, it should be recalled that it starts very
young person to study the bandonion, it learns the harmony with
professor Felix Lipesker and the large bandoneonist Carlos Marcucci.
It records with the orchestra of the pianist and type-setter
Juan Carlos Cobian. It will form part, still young, of the
orchestras of the violonist Alfredo Gobbi, Victor D' Amario and as a
first bandonion of this brilliant pianist Osmar Maderna.
Thereafter it integrates the orchestras of Mariano Mores, Hector
Stamponi, Carlos Di Sarli, Lucio Demare and Horacio Salgan.
Little time later, it creates its own orchestra with the pianist
Atilio Stampone.
Federico goes, hardly thirty years old, worms of new challenges.
In 1955, it is appellé by Astor Piazzolla to replace Roberto
Pansera in one of the most revolutionary formations of the history of
the tango: Octeto Buenos Aires leaving us interpretations of anthology with the creator ofAdios Nonino.
Towards the end of the years ' 50, it records with its own
orchestra and this time its imposing destiny the met in relation to
the singer who will become tallest of the recent history of the tango:
Julio Sosa, which it will accompany until accidental death by
the singer in 1964.
Then it creates with the guitarist Roberto Grela a four-bit byte
of dream which will record memorable versions of tangos like Amurado, El Pollo Ricardo, A San Telmo (of same Grela), Danzarin and A Guardia Nueva ,
inter alia.
For forty five years, it has continued its work with its own
formation where find themselves remarkable interpreters, cotoyant the
strong personality of Maestro Federico.
It formed part of one of the ' megagroupes' tango, with the
pianist Osvaldo Berlingieri and the double bass player Fernando
Cabarcos: the Federico-Berlingieri-Cabarcos
Trio.
As a type-setter let us note Cabulero,
Sentimental y Canyengue, Retrato de Julio Ahumada and Preludio Nochero
(with Osvaldo Requena), Diagonal Gray, Siempre Buenos Aires,
Cautivante...
Leopoldo Federico transmitted the tango in the
world, and formed part of one of the most mythical formations Quinteto Real with Horacio Salgan.
He is a also President of Argentinian Association Interpreters
and continuous until our days with his orchestra where we find young
people interprétes soloists the such pianist Nicolas Ledesma and the
violonist Damian Bolotin.
Federico is synonime the best and more advanced tango which
never forgets its roots, and as an interpreter it can be considered
one of largest maestros of the history of the tango.
Conversation with Leopoldo Federico
Shine Tarantino: How Maestro is?
How are the fingers?
Leopoldo Federico: I hope well. For a certain
time with the orchestra, we play from time to time but we have the joy
of working together.
LT: After 45 years to work from time to time
like you, how does one make says to preserve an orchestra of tango
thus?
LF: So that this arrives, it is necessary to have
for its sides of the friends like are the guy of the orchestra, always
ready with répeter and to work by doing other work in addition.
They are always with me, when we go up on scene to play with the
repetitions necessary. It is a joy of dividing with them to make
music.
LT: You know that each time we are pleased to
listen to you, you always say not to know how that will occur, because
you are ' except pratique' but when you start to play, that always
surprises us, we are touched and moved as at the time of the first
day. How you do that?
LF: It is not the same thing to work without pause
as to do it sporadically. In addition I do not practise
tous.les.jours and that must be seen (or to get along), but when I go
up on scene the thing changes and my companions reassure me.
If there is something which still goes, it is my head, and I am
also very self-criticism with me, therefore when I could not any more
make it, I from would go away. For the moment I believe to smell
myself well to continue. There are topics which I played all my
life, then I know them very well. What occurs is that sometimes
the technical difficulties become, with the age, increasingly
important. In all manners, when I commençe to be played, my
fingers are heated and the thing leaves.
LT: It would be good that the orchestra
records again...
LF: Yes, in fact, it would be well, because
it is while recording that one can make things with more artistic
control.
LT: What would you say to your public and the
young public which will listen to you, concerning the future of the
tango? Does Y have to you it a hope?
LF: They are youngest which must have hope.
The young artists who make very good music. There is
always hope. What I say to people, it is that tango, that should
be liked the true tango should be listened to. When this
faithful public comes, I smell myself very well because their
aplaudissements is true.
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