Author: Nudelman Bernardo

To dance with the presence of an orchestra is not only to smell itself in a ball of the first times, when there was neither disc nor Cd.

To dance with the presence of an orchestra is to be in a particular, different environment. Energies are released differently. Especially if it settles a kind of communion, of dialogue, between the track and the scene.


Silencio is one of these rare orchestras of tango which make a success of this ' invitation', which can producethis shared emotion. There is not which the reception obtained of the public at the time of their displacements in Europe has to see,where the orchestra resides and works. Silencio is a full orchestra, it plays marvelously, it is present and can create a splendid environment of ball.

To the occasion of the exit of first Cd of the group, we were offered the pleasure of dialoguing with Roger Helou creative, pianist and arranger of the orchestra.


RH: Since 2000, year of the birth of the group, we knew a history ' mouvementée'. Initially we were a trio, then a four-bit byte, to succeed has the current orchestra tipic, and even! we claimed to become true a orquesta tipica which had to 14 musicians. And to supplement the table we invited Alfredo Marcucci, because we had the ambition to imitate large Maestro Carlos Di Sarli, my guide and idol, with which Marcucci worked, at the time of the last years of Maestro.
The group evolved/moved, it found its form and incorporated the personality of its members. Today we are a formation where evolve/move: 1 to 2 bandonions, 3 to 4 violins, a low clarinet, a double bass and a piano.


BN: Your formation thus presents large ' a élasticité'. How is the low clarinet in your orchestra integrated?

RH: It has a role with share. It is present inthe low registers and in close link with the double bass concerning hitches, syncopes and passages rhythmic. It reinforces the left hand of the bandonions. This manner of being useful itself of the low clarinet, we owe it in Horacio Salgan, but nobody since used it.


BN: The tango that you make magnificiently is adapted to the ball, with a color which is the result of your own arrangements.

RH: Arrangements all are, or almost, for the ball. Thus we made our first Cd with the repertory which we have the practice to play at the time of the ' milongas'. Arrangements donot have anything ambitious. They have many ' silences' and the simple harmonies for the happiness of the public.........


BN: How you connect yourselves since the scene with the track, the space of the dancers?

RH: We play especially for the balls, it is what we prefer. Therefore, nobody among us will say: "aïe, when they dance it do not listen to us..." If we succeed in drawing the attention of the public, to connect us with him, then "It" forms part of us and vice versa. To play for the dancers, when you feel them close, it is a ' flash, that motivates you. Contrary to a concert where people are scotchés with their chairs.


BN: Does it sometimes happen to you to proposeyour work within the framework in a concert? And if so, have a repertory different from that for the ' milongas'?

RH: Yes, indeed, we have two repertories. Because, to light the public which sat, it is sometimes more difficult, but sometimes also easier. Good, that depends how it sat......


BN: Within this ' histoire' of do the tango, where and how you position as an orchestra? Which are your references dominant stylistics?

RH: The answer is very delicate. We belong to a generation which was obliged of ' fouiller' in what was buried for along time. Very difficult task, because nothing goes ' sonner' as the large ones of formerly made a success of it. The fact remains that to admire, to want to imitate the great styles is an excellent base to continue to make tango.
Now, at the stage where is the group, we do not try to imitate astyle or another, which we did at the beginning, enabled us to have a solid base. We play as that comes, with what we have and our personalities.


BN: Good, Roger, benefits from this interview to ask until Silencio waits more of the public of the ball!

RH: What to say to the public of dancers....? Euh.... that it applaud us well extremely, and that they dare, also, to shout!!!



Silencio is integrated by the following musicians:

bandonions:
Jose-Shine Betancor (Uruguay) - Guillermo Destaillats (Argentina)

violins:
Giovanni Barbato (Italy) - Irma Gross (Swiss) - Brian Zenone (the USA) - Dario Viri (Italy)

clarinet-low:
Lanet Flora (Cuba)

double bass:
Wini Holzenkamp (Germany)

piano and arrangements:
Roger Helou (Argentina)

singer:
Omar Fernandez (Argentina)

You will find in our catalogue ' www.musicargentina.com' first Cd of Silencio