The history behind this version

Renew the “old” tangos is part of the Tango tradition. Astor Piazzolla did greatly “arrangement” works not only with the traditional old tangos but also with his own compositions as for example “Verano Porteño” or “Adios Nonino” among others. Sometimes with great opposition on both cases but nevertheless, he did it. He changed his own scores each time while playing, recording or writing. Moreover, he would even encourage his own musicians to do so.

Today, some Piazzolla´s “defenders” think it should not be so and that, one by one, his notes have to be “strictly respected”. Unless one is “allowed to…” So it goes…

And one of the results of that belief is that shortly after the new versión of “María de Buenos Aires” appeared in the market, the record company seem to have received some kind of pressure therefore stopping the diffusion and the discontinuing the release of the CD. By the way, it exists today more than one “allowed” different versions of this same “Operita”, like Kremer’s version arranged in this case by Leonid Desyatnikov just to name one. In this case the changes and arrangements in the score were permitted, as well the release and commercialization of that specific recording.

So, the only purpose of this Web-page is to let visitors discover and listen by themselves this New Version of “María de Buenos Aires” re-written by Marcelo Nisinman. No commercial purpose is in it.

A new score, a new original and renewed versión –paradoxically as if the melodies were those of a “Canti Firmi” in the same literal and corrupted sense of those words and not in the strictly musical meaning of the old Latin expression- even though the melodies, as well as the lyrics, were thoroughly respected.

The core of this new version is the transformation and renovation of Buenos Aires musical language, both caused by the alteration of its own traditional elements. Confrontation and conflict of those elements within one and the same work plus a deep questioning of the pre-established functions within what had once been rightly considered as avant-garde art in Buenos Aires musical world but that is not anymore (and does not really matter).

Another re-composition of those strings Pythagoras divided in the 6th Century BC…

Hope you´ll enjoy it!

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