1 00:00:50,143 --> 00:00:53,374 A Tango Story 2 00:02:25,138 --> 00:02:27,333 Good morning. May I speak to Emilio Balcarce? 3 00:02:32,478 --> 00:02:34,343 I've called a thousand times. He's never home. 4 00:02:35,548 --> 00:02:39,348 - Why don't you leave a message? - No, he doesn't know me. 5 00:02:40,286 --> 00:02:41,617 Can't you call someone else? 6 00:02:41,754 --> 00:02:43,654 No, it's him. Well, for me, it's him. 7 00:02:44,524 --> 00:02:46,685 - Then go to his house. - To his house? 8 00:02:46,793 --> 00:02:48,055 Right, and you come with me. 9 00:03:23,596 --> 00:03:24,563 There it is. 10 00:03:30,069 --> 00:03:32,594 That's so good. Play that again. 11 00:03:32,739 --> 00:03:37,767 Did you hear that effect? 12 00:03:37,910 --> 00:03:39,673 It has a mark ed syncopation. 13 00:03:39,912 --> 00:03:41,243 You hear the strings... 14 00:03:43,616 --> 00:03:44,708 Because... 15 00:03:46,319 --> 00:03:50,551 ...the violins don't come in first. They mark the beat. 16 00:03:53,793 --> 00:03:55,488 The piano comes in. 17 00:03:56,462 --> 00:03:58,794 Remember "subito piano" in the fifth measure of C. 18 00:03:59,265 --> 00:04:00,700 Remember that. 19 00:04:00,700 --> 00:04:02,895 Remember we said to begin faster? 20 00:04:27,460 --> 00:04:31,191 When we formed El Arranque, we realized that... 21 00:04:31,331 --> 00:04:32,923 to play what we heard on the 22 00:04:33,066 --> 00:04:36,502 records required a lot of work. 23 00:04:37,136 --> 00:04:41,596 There were no orchestras to go and listen to. 24 00:04:42,742 --> 00:04:45,176 We realized that we were pretty much on our own. 25 00:04:47,146 --> 00:04:50,946 In the '40s and '50s, there were so many orchestras. 26 00:04:51,784 --> 00:04:53,752 Any musician who wanted to play... 27 00:04:53,886 --> 00:05:00,416 could enter an orchestra as a 3rd violin or 4th bandoneon. 28 00:05:01,294 --> 00:05:05,060 It was something natural, there weren't any classes. 29 00:05:05,298 --> 00:05:08,995 When the orchestras disappeared, we lost the natural environment... 30 00:05:09,135 --> 00:05:11,626 where musicians learned to play. 31 00:05:12,772 --> 00:05:16,970 From this comes the need, not the "idea," but the NEED, 32 00:05:17,210 --> 00:05:20,145 to create a tango orchestra school, 33 00:05:20,279 --> 00:05:23,043 where we could invite the maestros to come, 34 00:05:23,182 --> 00:05:24,911 so they can tell us how to play. 35 00:05:25,051 --> 00:05:28,487 A musician who played with D'Arienzo's orchestra, 36 00:05:28,621 --> 00:05:30,885 could come to show us how D'Arienzo played... 37 00:05:31,157 --> 00:05:33,125 because he was in that orchestra. 38 00:05:33,259 --> 00:05:38,891 Or a violinist who played with Francini could come... 39 00:05:39,031 --> 00:05:42,523 and explain to us why that orchestra sounded the way it did. 40 00:05:42,635 --> 00:05:45,798 To learn it from a record is very hard. 41 00:05:46,139 --> 00:05:48,607 You can copy and reproduce many things. 42 00:05:48,741 --> 00:05:53,144 But there are others, that if someone doesn't show you, 43 00:05:53,279 --> 00:05:54,803 it's impossible to learn. 44 00:05:56,048 --> 00:05:58,039 We have to save the oral transmission. 45 00:05:58,785 --> 00:06:03,347 What do the institutions say when you ask for money? 46 00:06:05,792 --> 00:06:06,554 That there isn't any. 47 00:06:08,461 --> 00:06:09,894 "What's that?", they say. 48 00:06:10,630 --> 00:06:13,190 They say, "How interesting!" "Sounds great!" 49 00:06:13,866 --> 00:06:16,767 Maybe somebody else already thought of it. 50 00:06:17,270 --> 00:06:20,171 What I think nobody realizes... 51 00:06:21,140 --> 00:06:22,971 is how urgent it is. 52 00:06:23,810 --> 00:06:25,505 When these men are gone... 53 00:06:26,112 --> 00:06:27,579 it's all over. 54 00:06:28,915 --> 00:06:33,375 And we'll realize that one day, when we're all alone. 55 00:07:00,546 --> 00:07:03,743 Hello. Is Maestro Balcarce there? 56 00:07:06,285 --> 00:07:12,713 This is Ignacio Varchausky. Yes, we spoke the other day. 57 00:07:16,395 --> 00:07:18,795 I could try again later, but... 58 00:07:20,600 --> 00:07:25,128 Do you know where? Because I'm in the neighborhood... 59 00:07:29,275 --> 00:07:31,436 Do you know where he's walking? 60 00:07:35,047 --> 00:07:37,481 I'll recognize him from photos. 61 00:07:40,419 --> 00:07:45,686 When we started to think of who should conduct the orchestra school, 62 00:07:45,825 --> 00:07:50,285 Emilio really stood out as uniquely qualified... 63 00:07:50,530 --> 00:07:56,400 and, besides, he is very well-Ioved by all his peers. 64 00:07:56,936 --> 00:08:00,599 We all know he played with Pugliese for 20 years, 65 00:08:00,740 --> 00:08:01,832 he co-founded the Tango Sextet, 66 00:08:01,974 --> 00:08:04,670 conducted the orchestras of Marino and Castillo, 67 00:08:04,810 --> 00:08:08,940 he arranged music for Pugliese, Troilo, Gobbi, Basso. 68 00:08:09,382 --> 00:08:12,146 Piazzolla recorded one of his tangos. 69 00:08:12,285 --> 00:08:17,917 He's one of the most important figures in the history of tango. 70 00:08:18,190 --> 00:08:23,719 But he also stands out for being a nice guy... 71 00:08:23,996 --> 00:08:26,794 patient, unassuming. 72 00:08:27,433 --> 00:08:31,369 When I called him, he was practically retired. 73 00:08:33,372 --> 00:08:34,930 We're getting a little sun. 74 00:08:35,074 --> 00:08:36,006 What are their names? 75 00:08:36,409 --> 00:08:37,876 This one's Micky. 76 00:08:38,144 --> 00:08:40,237 The fat one's Pepi. 77 00:08:40,947 --> 00:08:44,314 And the most mischievous one is called Maite. 78 00:08:46,385 --> 00:08:47,943 I talked to Balcarce. 79 00:08:48,721 --> 00:08:49,779 What happened? 80 00:08:50,122 --> 00:08:53,353 - He said no. - What do you mean "no"? 81 00:08:53,726 --> 00:08:54,624 Why? 82 00:08:55,261 --> 00:08:57,559 We had a cup of coffee... 83 00:08:57,930 --> 00:09:02,958 and, really, he thought the idea was good... 84 00:09:03,169 --> 00:09:09,005 but it would be too hard to gather so many musicians now. 85 00:09:10,610 --> 00:09:14,239 It seemed impossible to him. 86 00:09:16,649 --> 00:09:22,588 Maybe he's just tired, because he's retired already. 87 00:09:23,556 --> 00:09:24,614 I don't know... 88 00:09:24,757 --> 00:09:30,559 ...he seemed interested, though, in the whole idea of an orchestra. 89 00:09:32,632 --> 00:09:34,566 I have to convince him. 90 00:09:35,835 --> 00:09:36,859 Good evening. 91 00:09:37,036 --> 00:09:39,732 - Can we park here? - No. Not here. 92 00:09:39,872 --> 00:09:41,305 We have to play right now. 93 00:09:42,208 --> 00:09:44,403 - We're in a hurry. - We have a double bass... 94 00:09:45,411 --> 00:09:46,571 Park over there. 95 00:09:46,712 --> 00:09:49,442 We already went there. We've been driving around awhile. 96 00:09:49,582 --> 00:09:50,571 There's no space. 97 00:09:53,352 --> 00:09:58,289 This instrument's huge. I can't carry it two blocks. 98 00:09:59,358 --> 00:10:00,484 There's room here. 99 00:10:01,027 --> 00:10:03,723 Park it there. You can't park here. 100 00:10:08,434 --> 00:10:10,493 - I'm going to run because... - Go ahead! Go! 101 00:10:16,909 --> 00:10:18,171 Up! Up! Up! 102 00:10:18,411 --> 00:10:19,105 Up! Up! Up! 103 00:10:20,479 --> 00:10:21,537 Up! 104 00:10:23,249 --> 00:10:25,774 Up! Up! Up! 105 00:10:26,952 --> 00:10:32,913 The doctor started asking me a thousand questions and said: 106 00:10:33,059 --> 00:10:36,460 "You know what? I don't think you are diabetic." 107 00:10:41,367 --> 00:10:43,528 - What did we call him? - Chapatin. 108 00:10:45,938 --> 00:10:49,669 Have you ever seen "The Kid from Apt. 8"? 109 00:10:50,309 --> 00:10:52,470 Remember Dr. Chapatin? 110 00:10:52,678 --> 00:10:54,942 He look ed just lik e him. 111 00:10:55,081 --> 00:10:58,050 He wrote lik e this. 112 00:10:58,184 --> 00:11:00,118 - His finger went up. - It was his thumb. 113 00:11:00,252 --> 00:11:01,776 His finger went up, right? 114 00:11:04,724 --> 00:11:08,683 He interviewed me... but things have changed. 115 00:11:10,129 --> 00:11:13,064 Medicine is so different, these days. 116 00:11:14,467 --> 00:11:17,664 The doctor doesn't really connect with you. 117 00:11:18,637 --> 00:11:23,370 He asks what you feel, then just sends you for tests. 118 00:11:24,810 --> 00:11:26,505 - Are you going to sing? - Yes. 119 00:11:28,247 --> 00:11:31,317 - Stop eating, Daddy. - Why? 120 00:11:31,317 --> 00:11:34,377 - You're going to accompany her. - Me? No. 121 00:11:34,820 --> 00:11:36,117 Who's going to play then? 122 00:11:36,255 --> 00:11:37,813 That has paper on it. 123 00:11:37,957 --> 00:11:41,586 He doesn't want to. Thanks. 124 00:11:42,528 --> 00:11:45,831 But why? We're all just sitting here... 125 00:11:45,831 --> 00:11:50,859 Just "Desencuentro." I'll help you remember. 126 00:11:59,445 --> 00:12:03,347 So you can remember a little. No? ...Phenomenal! 127 00:12:03,716 --> 00:12:04,876 Excuse me! 128 00:12:05,017 --> 00:12:07,110 For once she wants to sing and you won't let her? 129 00:12:07,219 --> 00:12:10,586 Sorry! Sorry! I won't bother you. 130 00:12:12,258 --> 00:12:14,590 She never wants to sing. 131 00:12:14,727 --> 00:12:17,093 She wants to sing today and you say no. 132 00:12:17,196 --> 00:12:21,895 Wait, Graciela. Are you melancholy or euphoric? 133 00:12:24,069 --> 00:12:29,029 If you are melancholy, we could sing "Chiquilin de Bachin". 134 00:12:29,542 --> 00:12:32,340 No, I don't want to sing "Chiquilin de Bachin." 135 00:12:33,379 --> 00:12:35,847 No, sing "Desencuentro." 136 00:12:37,483 --> 00:12:39,314 I don't know if I remember. 137 00:12:39,485 --> 00:12:42,943 - These are delicious. - They're sweet. 138 00:12:53,599 --> 00:12:54,793 Not yet. 139 00:12:54,934 --> 00:12:56,367 Not yet. 140 00:12:56,902 --> 00:12:58,062 I'm trying... 141 00:12:59,238 --> 00:13:02,002 I don't know if I'll be able to. 142 00:13:02,174 --> 00:13:04,039 Something off-hand. 143 00:13:17,022 --> 00:13:20,719 You're disoriented and you don't know... 144 00:13:21,527 --> 00:13:26,362 Which trolley you must tak e to go on. 145 00:13:27,099 --> 00:13:30,591 In this failed encounter with Faith, 146 00:13:31,403 --> 00:13:36,534 you want to cross the sea, but you cannot... 147 00:13:36,675 --> 00:13:41,305 the spider you saved, bit you. What can you do? 148 00:13:42,147 --> 00:13:46,379 The man you helped, hurt you and so it goes. 149 00:13:46,518 --> 00:13:51,353 And this whole shouting carnival has trampled 150 00:13:52,024 --> 00:13:58,361 the brotherly hand that God extended. 151 00:13:58,764 --> 00:14:03,599 What a failed encounter! 152 00:14:03,736 --> 00:14:05,135 Emilio is incredible. 153 00:14:05,704 --> 00:14:07,103 Getting to know him is lik e... 154 00:14:07,339 --> 00:14:09,330 ...getting to know the history of tango. 155 00:14:12,111 --> 00:14:15,603 He started his career at 16, conducting an orchestra... 156 00:14:15,748 --> 00:14:16,976 and playing the bandoneon. 157 00:14:17,283 --> 00:14:20,810 Then throughout his career he played the violin... 158 00:14:21,587 --> 00:14:26,320 at first conducting, then playing and arranging for others. 159 00:14:26,725 --> 00:14:31,162 He composed "La Bordona"! An incredibly successful career... 160 00:14:32,965 --> 00:14:36,264 With Pugliese he toured many places: 161 00:14:36,402 --> 00:14:40,805 Europe, Asia and then with The Tango Sextet... 162 00:14:40,973 --> 00:14:43,840 he travelled all over the world... 163 00:14:44,710 --> 00:14:45,972 even to Siberia. 164 00:14:58,157 --> 00:14:59,317 She sings well, doesn't she? 165 00:15:01,093 --> 00:15:02,993 Ask for a tip. 166 00:15:09,068 --> 00:15:14,529 I couldn't find funding for the school anywhere... 167 00:15:14,907 --> 00:15:20,846 and the economic situation in the country was getting worse. 168 00:15:22,448 --> 00:15:26,111 I started to believe it was never going to happen. 169 00:15:26,785 --> 00:15:28,548 Really, it wouldn't happen. 170 00:15:34,360 --> 00:15:37,693 Then something happened which seemed like a sign. 171 00:15:39,264 --> 00:15:43,724 "REDEMPTION" by Alfredo Gobbi 172 00:15:44,870 --> 00:15:49,569 With Alfredo Gobbi, we feel a special connection. 173 00:15:50,209 --> 00:15:51,836 One day, we were rehearsing 174 00:15:51,977 --> 00:15:54,502 and Nelida Rouchetto from The Tango House... 175 00:15:54,713 --> 00:16:00,276 showed up with a cassette of unreleased material by Gobbi... 176 00:16:00,419 --> 00:16:02,819 playing on the radio in 1964. 177 00:16:02,955 --> 00:16:06,152 Among the tangos was "Redemption". 178 00:16:07,092 --> 00:16:09,083 It was a real find, a gem. 179 00:16:09,395 --> 00:16:13,263 We liked it so much, and since he never got to record it, 180 00:16:13,599 --> 00:16:20,129 we decided to do it, but exactly as Gobbi played it with his orchestra. 181 00:16:20,906 --> 00:16:22,498 So we started to transcribe it. 182 00:16:23,909 --> 00:16:29,438 But it's a big job, to pick out note by note, every instrument. 183 00:16:30,082 --> 00:16:31,208 It was weird. 184 00:16:31,316 --> 00:16:34,285 We were at the piano, playing the tango a little, 185 00:16:34,453 --> 00:16:37,547 and we felt something strange... I don't know... 186 00:16:37,689 --> 00:16:39,680 we felt a kind of presence. 187 00:16:40,592 --> 00:16:43,959 As if Gobbi himself was there with us. 188 00:16:45,864 --> 00:16:51,769 The next day, Nelida Rouchetto called, excited, almost crying... 189 00:16:51,937 --> 00:16:56,237 because she had found, among a bunch of papers, 190 00:16:56,809 --> 00:17:01,542 the complete arrangement for "Redemption" by Gobbi. 191 00:17:03,248 --> 00:17:07,014 I almost burst into tears, too. It was incredible. 192 00:17:07,219 --> 00:17:12,418 It was as if Gobbi, watching from a cloud, sent us this material. 193 00:17:13,025 --> 00:17:18,190 She told me that Mario De Marco, the main bandoneon player... 194 00:17:18,330 --> 00:17:20,821 and arranger of Gobbi's orchestra, 195 00:17:21,800 --> 00:17:24,200 had given her this material before he died. 196 00:17:25,270 --> 00:17:28,728 He told her to save it and tak e care of it... 197 00:17:29,374 --> 00:17:31,001 for when the orchestras returned. 198 00:17:34,446 --> 00:17:35,743 And that's how it went. 199 00:17:38,050 --> 00:17:43,852 After 3 years of knocking on doors, we had the funding. 200 00:17:44,156 --> 00:17:47,023 It came from the Secretary of Culture of Buenos Aires. 201 00:17:47,159 --> 00:17:50,185 But the orchestra had to be set up in a week. 202 00:17:51,730 --> 00:17:55,131 So I organized a meeting with very important musicians: 203 00:17:55,267 --> 00:17:58,930 Julián Plaza, Leopoldo Federico, Carlos García, 204 00:17:59,071 --> 00:18:02,404 Ernesto Franco, Horacio Cabarcos, and Emilio, of course. 205 00:18:04,977 --> 00:18:09,311 Suddenly I was at the meeting table with all these giants... 206 00:18:09,548 --> 00:18:12,244 and they were all expecting something. 207 00:18:13,418 --> 00:18:17,616 Where do we start? Where do we start? 208 00:18:18,457 --> 00:18:19,355 And why? 209 00:18:21,827 --> 00:18:27,788 We are trying to get the original arrangements. 210 00:18:27,966 --> 00:18:32,494 Otherwise, we can transcribe what's necessary with Ramiro. 211 00:18:32,771 --> 00:18:34,500 I believe we can get quite a few. 212 00:18:35,774 --> 00:18:38,368 At the first rehearsal, we can just start playing... 213 00:18:38,510 --> 00:18:41,070 That won't be possible right away. 214 00:18:41,213 --> 00:18:43,582 We need to get the musicians ready. 215 00:18:43,582 --> 00:18:47,018 The orchestra is ready. We have 12 musicians. 216 00:18:47,553 --> 00:18:49,851 But are they ready? 217 00:18:50,422 --> 00:18:56,554 Who is going to tell them how to play and in which style first? 218 00:18:58,330 --> 00:19:03,427 - That's why we are here. - We have to organize that. 219 00:19:04,469 --> 00:19:10,374 Emilio was very worried about which tango to start with. 220 00:19:10,909 --> 00:19:12,501 It could be Pichuco... 221 00:19:13,579 --> 00:19:15,979 Pugliese is too complicated. 222 00:19:16,915 --> 00:19:23,150 Or D'Arienzo, Fresedo, anyone we agree on, 223 00:19:23,922 --> 00:19:27,292 and start with that one. 224 00:19:27,292 --> 00:19:29,021 We can't start with all of them. 225 00:19:29,161 --> 00:19:33,530 You are very worried because you don't know how to start. 226 00:19:34,199 --> 00:19:38,568 I see it this way: I wouldn't think about Pugliese, Troilo. 227 00:19:38,737 --> 00:19:42,366 Start with your music, your arrangement. 228 00:19:42,474 --> 00:19:46,740 You are a very well respected man within tango... 229 00:19:46,878 --> 00:19:48,778 and when you compose, you know what tango is. 230 00:19:50,782 --> 00:19:55,515 Once you put the orchestra together, then it'll become clear, 231 00:19:55,654 --> 00:19:56,916 You'll have the base. 232 00:19:57,289 --> 00:20:01,919 OK, we have the orchestra, but what do we start with? 233 00:20:02,394 --> 00:20:03,554 With one of your arrangements. 234 00:20:03,729 --> 00:20:04,559 La Bordona! 235 00:20:04,696 --> 00:20:06,391 La Bordona! La Bordona! 236 00:20:06,832 --> 00:20:10,199 All the other maestros practically jumped out of their chairs saying... 237 00:20:10,335 --> 00:20:13,202 "La Bordona! It's got to be, La Bordona!" 238 00:20:13,972 --> 00:20:15,269 It was a composition by Emilio, 239 00:20:15,407 --> 00:20:20,310 very important in tango's history and also very symbolic. 240 00:20:20,445 --> 00:20:25,212 I saw it as a symbol of Emilio's comeback... 241 00:20:25,350 --> 00:20:29,548 conducting a tango orchestra again after fifty years... 242 00:20:29,855 --> 00:20:33,723 with young people again and with his tango, La Bordona. 243 00:21:15,334 --> 00:21:18,235 As we only had one week to put the orchestra together... 244 00:21:18,503 --> 00:21:21,063 I chose to form it by invitation. 245 00:21:21,907 --> 00:21:25,741 I called musicians who already played their instruments well... 246 00:21:25,877 --> 00:21:29,938 and who I thought had the right profile to form this orchestra... 247 00:21:30,282 --> 00:21:33,418 because this was not an instrument school... 248 00:21:33,418 --> 00:21:35,215 but rather a school of styles. 249 00:21:35,887 --> 00:21:38,287 We would study with the original arrangements... 250 00:21:38,423 --> 00:21:43,759 the styles of the finest orchestras of the '40s and '50s. 251 00:21:45,097 --> 00:21:50,558 If this pilot work ed well, then in the second year we could... 252 00:21:50,702 --> 00:21:53,830 arrange open auditions... 253 00:21:53,972 --> 00:21:57,703 and invite musicians from all over the country. 254 00:22:15,460 --> 00:22:19,658 From the beginning, besides Emilio, we had two assistants. 255 00:22:21,032 --> 00:22:26,971 Ramiro Gallo playing violin and Horacio Romo on bandoneon. 256 00:22:27,172 --> 00:22:29,663 These musicians were very young... 257 00:22:29,808 --> 00:22:33,608 but had ample professional experience playing tango... 258 00:22:34,012 --> 00:22:38,472 and would be excellent guides for their sections. 259 00:22:38,984 --> 00:22:43,853 They would act as mirrors for the other musicians. 260 00:23:36,741 --> 00:23:39,039 No, on F. 261 00:23:43,615 --> 00:23:46,550 Let the chord end. It's got to vibrate. 262 00:23:46,685 --> 00:23:49,153 The first F trails from before. 263 00:23:49,321 --> 00:23:52,222 If it just cuts there, 264 00:23:52,357 --> 00:23:53,756 it doesn't work. 265 00:23:53,892 --> 00:23:54,950 Great. 266 00:24:05,003 --> 00:24:07,494 Does anyone have stuff there? Water is leaking in. 267 00:24:26,358 --> 00:24:28,918 This project is not just for us. 268 00:24:29,594 --> 00:24:33,223 We are preserving what we have for future musicians. 269 00:24:41,206 --> 00:24:43,367 Practice is cancelled due to rain. 270 00:24:44,676 --> 00:24:45,870 Press here. 271 00:24:47,212 --> 00:24:49,908 - You closed it. - No, you did. 272 00:24:50,348 --> 00:24:52,578 - Close it. - Let go. 273 00:24:55,520 --> 00:24:58,114 - You are pulling it open. - No, look. 274 00:25:00,492 --> 00:25:01,618 Press here. 275 00:25:03,728 --> 00:25:08,028 I have to push the other. Now it closes. 276 00:25:17,342 --> 00:25:18,468 Do you like to play? 277 00:25:22,113 --> 00:25:24,104 I'm not ever going to play it. 278 00:25:27,385 --> 00:25:29,410 Before I was born, my dad said... 279 00:25:29,554 --> 00:25:31,852 ...that I'd be a boy and that I'd play the bandoneon. 280 00:25:32,691 --> 00:25:35,489 It was lik e something imposed. 281 00:25:40,765 --> 00:25:42,130 You play it. 282 00:25:53,044 --> 00:25:53,806 Have a seat. 283 00:26:16,401 --> 00:26:18,130 The melody. You see? 284 00:26:23,141 --> 00:26:25,405 My son could perhaps be a musician. 285 00:26:25,543 --> 00:26:27,977 He's very young now... 286 00:26:28,313 --> 00:26:32,750 but next year he'll start at the conservatory. We'll see then. 287 00:26:33,184 --> 00:26:35,175 So far, he wants to play the piano. 288 00:26:35,987 --> 00:26:38,979 Maybe that's better. We could play together. 289 00:26:39,724 --> 00:26:42,192 And if he plays the bandoneon, I can send him as a replacement. 290 00:26:50,969 --> 00:26:52,300 Lik e this... 291 00:27:57,402 --> 00:28:00,200 I'm going to have to start throwing things out. 292 00:28:01,106 --> 00:28:01,936 Why? 293 00:28:02,140 --> 00:28:05,473 I've got two of some things. 294 00:28:06,544 --> 00:28:09,775 Lik e this. What do I need this for? 295 00:28:11,049 --> 00:28:12,016 Which? 296 00:28:12,150 --> 00:28:14,345 No! This is nice. I already put this aside. 297 00:28:17,355 --> 00:28:18,481 Leave it here. 298 00:28:18,790 --> 00:28:22,055 I have some arrangements. 299 00:28:22,193 --> 00:28:24,753 I'm going to mak e a copy of these, Maestro. 300 00:28:25,363 --> 00:28:27,456 Can I borrow these to copy? 301 00:28:28,166 --> 00:28:30,760 - Then you'll return them? - Of course. 302 00:28:32,337 --> 00:28:37,365 It's interesting, to k eep the published sheet music, 303 00:28:38,109 --> 00:28:43,775 k eep it together with the arrangements you did. 304 00:28:45,350 --> 00:28:47,215 That is why I want these. 305 00:28:47,786 --> 00:28:50,346 - And this? - "Si Sos Brujo" for Francini-Pontier. 306 00:28:50,455 --> 00:28:53,151 I never even thought that these could be useful. 307 00:28:54,225 --> 00:28:55,522 Archive. 308 00:28:57,295 --> 00:28:59,422 You're leaving me empty-handed. 309 00:28:59,931 --> 00:29:02,161 Look! Do you know when that's from? 310 00:29:03,234 --> 00:29:08,001 I've got 5 compositions in that publishing house. 311 00:29:08,139 --> 00:29:10,607 - Look at this picture. - I only have that one left. 312 00:29:11,042 --> 00:29:13,408 - Just that one. - What a sweet photo! 313 00:29:13,578 --> 00:29:15,102 - How tender! - It's very tender. 314 00:29:15,246 --> 00:29:16,577 What year is it from? 315 00:29:18,550 --> 00:29:20,245 It should be there... 316 00:29:23,721 --> 00:29:28,249 1939! June '39. 317 00:29:31,296 --> 00:29:32,695 21 years old. 318 00:29:37,569 --> 00:29:38,934 I was younger. 319 00:29:41,506 --> 00:29:44,742 Interpret it in such a way... 320 00:29:44,742 --> 00:29:48,680 that you can concentrate on fortes and pianos. JOSE "PEPE" LI BERTELLA Guest Maestro. 321 00:29:48,680 --> 00:29:53,174 For example, the attack... JOSE "PEPE" LI BERTELLA Guest Maestro. 322 00:30:13,171 --> 00:30:15,571 Then it gets forte, and then... 323 00:30:15,807 --> 00:30:16,796 now you try it. 324 00:30:17,375 --> 00:30:21,072 You don't need to play it so broad at the beginning. 325 00:30:23,481 --> 00:30:28,475 Then, once you understand... but it's perfect. 326 00:30:29,520 --> 00:30:31,715 - Excellent! - Indeed. 327 00:30:34,292 --> 00:30:37,989 We are going to do this many times... 328 00:30:41,132 --> 00:30:43,600 so play it softly this time. 329 00:32:48,059 --> 00:32:49,083 Very nice. 330 00:32:50,128 --> 00:32:54,394 What you're doing now, which to me is extraordinary, 331 00:32:55,366 --> 00:32:58,460 describes Buenos Aires today. 332 00:32:59,971 --> 00:33:05,637 It resembles the music and rhythm of Piazzolla... 333 00:33:05,777 --> 00:33:09,508 because of its strength, vigor and urgency. 334 00:33:09,647 --> 00:33:13,879 This was also present at other times in Argentina. 335 00:33:14,018 --> 00:33:16,816 Before, the way to mak e it sound more "Buenos Aires"... 336 00:33:16,954 --> 00:33:20,788 was to "dirty it up" a little, like Troilo used to say. 337 00:33:22,026 --> 00:33:27,623 Give it some slides, a bullying attitude. 338 00:33:31,736 --> 00:33:34,534 Almost every orchestra used to do it. 339 00:33:35,373 --> 00:33:38,706 I don't mean you have to play yesterday's music. 340 00:33:41,079 --> 00:33:43,240 You should feel what happened yesterday... 341 00:33:43,548 --> 00:33:47,518 and then mak e your own music with the rhythm we're living. 342 00:33:47,518 --> 00:33:51,818 This isn't the same Buenos Aires as 40 years ago. 343 00:33:53,591 --> 00:33:56,719 All the important conductors and composers... 344 00:33:56,961 --> 00:34:01,330 played first with other orchestras and conductors. 345 00:34:01,466 --> 00:34:05,926 Even Astor Piazzolla, who's the greatest icon... 346 00:34:06,070 --> 00:34:07,765 of the renovation in tango, 347 00:34:08,606 --> 00:34:11,336 played in Anibal Troilo's orchestra for many years. 348 00:34:11,709 --> 00:34:15,008 And Troilo was lik e a super tango school. 349 00:34:15,613 --> 00:34:17,581 So the idea behind the Orchestra School... 350 00:34:18,015 --> 00:34:22,111 isn't only about preserving the past... 351 00:34:22,253 --> 00:34:23,914 it's about preserving the future, as well. 352 00:34:24,055 --> 00:34:27,513 Remember last year, during a rehearsal, we had a visit from 353 00:34:27,792 --> 00:34:29,760 Wynton Marsalis, the trumpet player? 354 00:34:31,095 --> 00:34:33,791 Now that Ramiro recorded the CD with his quintet... 355 00:34:33,931 --> 00:34:36,991 Wynton played as an invited guest on the CD. 356 00:34:37,235 --> 00:34:40,363 He brought it to show you. 357 00:34:40,605 --> 00:34:43,836 Tell us if this is an expression of Buenos Aires. 358 00:34:45,143 --> 00:34:46,508 It has to be, in some way. 359 00:39:28,893 --> 00:39:31,487 My name is Pedro Pablo Pedroso Baltazar. 360 00:39:31,929 --> 00:39:35,797 I come from Havana, Cuba, my birthplace. 361 00:39:36,867 --> 00:39:39,927 I came to Buenos Aires because of a woman. 362 00:39:41,005 --> 00:39:42,336 Then came tango. 363 00:39:42,573 --> 00:39:44,837 The woman left, but tango stayed. 364 00:40:28,385 --> 00:40:34,324 Tango saved me from abandoning the violin. 365 00:40:44,635 --> 00:40:46,500 I had a work visa, everything. 366 00:40:46,637 --> 00:40:49,197 I had all my papers in order but didn't have a job. 367 00:40:49,440 --> 00:40:52,841 I'd given up on trying to mak e a living with my violin. 368 00:40:52,977 --> 00:40:56,469 I thought I'd do whatever... 369 00:40:59,383 --> 00:41:06,186 The violin was put aside in my new plan for survival. 370 00:41:08,592 --> 00:41:13,086 And when the violin started to sound again... 371 00:41:14,698 --> 00:41:16,689 ...it played tango. 372 00:41:44,361 --> 00:41:45,555 What a memory! 373 00:41:49,667 --> 00:41:50,759 There's no way. 374 00:42:08,719 --> 00:42:12,416 Tango arrived by way of the immigrants... 375 00:42:14,558 --> 00:42:18,927 They lived in tenement houses, called "conventillos." 376 00:42:19,163 --> 00:42:23,998 From these places sprouted the basis of the mix... 377 00:42:24,435 --> 00:42:27,165 of what would later become tango. 378 00:42:27,972 --> 00:42:31,874 Each one contributed his part and his nostalgia. 379 00:42:33,544 --> 00:42:39,540 And they moved between the dance and their sadness. 380 00:42:40,284 --> 00:42:43,811 Being far from home and not belonging to any one place... 381 00:42:43,954 --> 00:42:49,517 can bring people to do things much sadder than tango. 382 00:42:49,660 --> 00:42:51,321 But we'll leave it there. 383 00:43:01,572 --> 00:43:03,938 - Good luck, my friend. - A pleasure, thank you. 384 00:43:05,242 --> 00:43:07,267 The orchestra is yours. 385 00:43:10,981 --> 00:43:12,471 Whenever you say, Maestro. 386 00:43:13,217 --> 00:43:15,242 - Quick tempo? - Yes, let's move it. 387 00:43:58,829 --> 00:44:00,319 That's it! 388 00:44:03,000 --> 00:44:06,595 - I don't know it. - Don't worry. Practice the form. 389 00:44:06,737 --> 00:44:08,728 And the marcato, how's that? 390 00:44:44,441 --> 00:44:46,033 That's the way. 391 00:46:22,906 --> 00:46:26,137 Five months after starting the orchestra... 392 00:46:26,243 --> 00:46:28,803 we had an opportunity to record a CD. 393 00:46:31,014 --> 00:46:33,116 On one hand this was great... 394 00:46:33,116 --> 00:46:36,176 but on the other, we felt a lot of pressure... 395 00:46:36,420 --> 00:46:42,381 because we had to record 12 tangos in six different styles. 396 00:46:42,626 --> 00:46:45,618 Those of Juan D'Arienzo, Osvaldo Pugliese, 397 00:46:45,762 --> 00:46:50,199 Osvaldo Fresedo, Leopoldo Federico, Carlos Di Sarli, Anibal Troilo... 398 00:46:50,534 --> 00:46:52,832 as well as the tangos by Emilio himself. 399 00:46:57,941 --> 00:47:00,774 We had to play the styles as accurately as possible... 400 00:47:00,911 --> 00:47:03,573 to prove that the Orchestra School project work ed. 401 00:48:22,592 --> 00:48:25,755 - Don't ask any more of me. - More? No! ...A little more. 402 00:48:40,877 --> 00:48:41,969 That was great! 403 00:48:42,713 --> 00:48:44,943 And with that, ladies and gentlemen, we finish... 404 00:48:45,215 --> 00:48:47,342 Just tak e a look at it and give it back. 405 00:48:47,484 --> 00:48:49,281 Thursday I'll have copies for everyone. 406 00:48:49,519 --> 00:48:52,750 Here I am, coming out of the maestro's ear. 407 00:48:52,889 --> 00:48:54,083 Is it on sale? 408 00:48:54,224 --> 00:48:58,126 Yes, we have just 40 for sale and 40 for the press. 409 00:48:58,362 --> 00:49:00,330 Tomorrow it'll be on the street. 410 00:49:00,464 --> 00:49:03,433 - Those are going to sell out. - They'll give us a copy, right? 411 00:49:03,567 --> 00:49:06,127 What happened to me here? 412 00:49:08,138 --> 00:49:09,127 He looks like a mutant. 413 00:49:09,272 --> 00:49:11,832 He's also a mutant. 414 00:49:29,760 --> 00:49:32,991 This is a night of glory for all tango-Iovers. 415 00:49:44,041 --> 00:49:47,169 We were invited to play on the first day of Spring... 416 00:49:47,310 --> 00:49:48,834 at a neighborhood party. 417 00:49:48,979 --> 00:49:51,539 It was a dance organized by the University of Tango. 418 00:49:53,116 --> 00:49:55,914 That was the debut of the Tango Orchestra School. 419 00:49:58,922 --> 00:50:02,358 That very night, I remember, I told Emilio some exciting news. 420 00:50:03,226 --> 00:50:08,687 We had received a big invitation to play in a festival abroad. 421 00:50:11,568 --> 00:50:16,005 Emilio was very excited, and also quite nervous. 422 00:50:17,507 --> 00:50:22,410 Six maestros were to travel with us as guests directors... 423 00:50:22,546 --> 00:50:26,573 and each one would take his own repertory, arrangements. 424 00:50:27,584 --> 00:50:30,018 Emilio said there wouldn't be enough time... 425 00:50:30,153 --> 00:50:31,381 to rehearse so much new music. 426 00:50:31,555 --> 00:50:34,922 That it was too much. That we wouldn't be ready. 427 00:50:35,725 --> 00:50:38,694 But... it was a chance to travel. 428 00:51:16,433 --> 00:51:20,130 - You don't like heights? - I don't lik e elevators. 429 00:51:37,320 --> 00:51:38,480 That's Montmartre. 430 00:51:54,070 --> 00:51:57,631 Argentina is that way, 11,027 km away. 431 00:52:09,152 --> 00:52:13,145 Now, an apocalyptic view of the orchestra before the debacle. 432 00:52:29,339 --> 00:52:34,003 The show starts in 5 minutes. 5 minutes, thank you. 433 00:52:34,844 --> 00:52:36,072 5 minutes, Maestro! 434 00:52:44,154 --> 00:52:45,485 How are you, Maestro Plaza? 435 00:52:45,822 --> 00:52:49,189 We are filming the backstage of Buenos Aires Tango. 436 00:52:50,894 --> 00:52:52,862 Are you going to warm up now? 437 00:52:55,198 --> 00:52:59,157 Imagine having one of these cameras when you went on tour... 438 00:52:59,302 --> 00:53:00,769 with Pugliese, right? 439 00:53:00,904 --> 00:53:06,740 It would have been nice, to have this kind of thing, no? 440 00:54:14,911 --> 00:54:17,402 With this shirt, Maestro, you upstaged us all! 441 00:54:20,984 --> 00:54:23,475 I didn't know you were all using black shirts. 442 00:54:33,563 --> 00:54:34,552 Maestro! 443 00:54:36,299 --> 00:54:38,233 You were together for many years, right? 444 00:54:38,935 --> 00:54:41,768 I was with him for over 30 years. 445 00:54:41,938 --> 00:54:44,907 10 with Pugliese and 22 with the Sextet. 446 00:54:45,141 --> 00:54:46,335 The basic step... 447 00:55:02,292 --> 00:55:05,090 Things went so well during the first year that we got funding... 448 00:55:05,261 --> 00:55:08,196 to carry on a second year of the Orchestra School, 449 00:55:08,365 --> 00:55:11,095 and this time we could have open auditions... 450 00:55:11,234 --> 00:55:12,861 even for international students. 451 00:55:14,003 --> 00:55:17,404 In Paris, Gustavo Beytelmann, 452 00:55:17,540 --> 00:55:20,065 a great Argentine musician, living in Paris... 453 00:55:20,910 --> 00:55:25,779 introduced us to his Belgian bandoneon pupil: Eva Wolff. 454 00:55:26,583 --> 00:55:29,780 She came to the hotel with her bandoneon to audition. 455 00:55:38,561 --> 00:55:41,359 I'm a little nervous. 456 00:55:44,100 --> 00:55:45,761 Pretend we're at a party. 457 00:56:21,504 --> 00:56:24,962 Her fingers look like they might break. So tiny. 458 00:57:45,388 --> 00:57:46,650 OK, enough. 459 00:57:47,090 --> 00:57:49,058 - That's enough for today, maestro. - No more tango. 460 00:57:52,095 --> 00:57:56,361 All I want is... rock and roll. All I want is rock and roll! 461 00:58:16,419 --> 00:58:19,820 Paris was incredible, great... 462 00:58:21,791 --> 00:58:25,955 But Emilio told me he isn't hearing well. 463 00:58:27,196 --> 00:58:30,131 That he's missing details at the rehearsals. 464 00:58:31,234 --> 00:58:33,896 That's why he was joking around about retiring. 465 00:58:40,310 --> 00:58:41,743 I don't know what's going to happen. 466 00:59:07,837 --> 00:59:10,533 He was deaf when he wrote the 5th Symphony. 467 00:59:12,675 --> 00:59:14,700 But he used that little horn. 468 00:59:18,548 --> 00:59:24,180 He had several horns. Ever tried using them? 469 00:59:25,188 --> 00:59:26,348 A little horn? 470 00:59:28,257 --> 00:59:29,519 He's a natural actor. 471 00:59:30,660 --> 00:59:34,096 Who knows? Try to go completely deaf, 472 00:59:34,230 --> 00:59:36,926 so you can compose your best pieces. 473 00:59:37,066 --> 00:59:38,363 Imagine the 6th. 474 00:59:39,602 --> 00:59:42,005 You can compose a new "Bordona" and we can say: 475 00:59:42,005 --> 00:59:46,271 "When he composed this, he was completely deaf." 476 00:59:46,409 --> 00:59:47,398 What do you think? 477 00:59:48,645 --> 00:59:49,634 He doesn't lik e it. 478 00:59:50,480 --> 00:59:53,847 - No, I'm considering it. - You are? 479 00:59:54,584 --> 00:59:56,950 You have to tak e it out to compose. 480 00:59:57,453 --> 00:59:59,853 Does it have a battery? 481 00:59:59,989 --> 01:00:01,752 It goes lik e this. 482 01:00:05,762 --> 01:00:06,660 It doesn't come out. 483 01:00:06,796 --> 01:00:08,764 You can't see it from here. 484 01:00:08,998 --> 01:00:11,865 But when I put it up loud, it goes... eeeee. 485 01:00:12,101 --> 01:00:13,796 The feedback! 486 01:00:14,637 --> 01:00:15,695 Yeah, I heard it. 487 01:00:17,573 --> 01:00:19,165 If you put your hand... 488 01:00:25,548 --> 01:00:26,810 Yeah! 489 01:00:35,525 --> 01:00:39,484 I want to stay active, not sit in a chair... 490 01:00:39,962 --> 01:00:41,759 because that's no good. 491 01:00:42,198 --> 01:00:44,860 But one day I'll have to do just that... 492 01:00:45,001 --> 01:00:47,401 and I'll have to be happy in a chair. 493 01:00:47,637 --> 01:00:49,502 Don't say that, Maestro. 494 01:00:51,174 --> 01:00:53,540 I try to do everything I can... 495 01:00:54,077 --> 01:00:58,070 But many details slip by. You both really help, but... 496 01:01:01,384 --> 01:01:02,874 And I really thank you. 497 01:01:04,987 --> 01:01:09,720 But there are details I miss. Besides... 498 01:01:12,662 --> 01:01:17,998 ...your memories are still fresh. 499 01:01:18,134 --> 01:01:22,093 When we play, we notice some detail to correct. 500 01:01:23,306 --> 01:01:28,369 If I don't go by that place again soon, I'll forget it. 501 01:01:28,511 --> 01:01:31,412 That happens to me, too. 502 01:01:32,882 --> 01:01:33,940 Not to you, right? 503 01:01:34,484 --> 01:01:38,443 Sometimes, but... not that much. 504 01:01:49,766 --> 01:01:52,860 We are constantly in a race against time. 505 01:01:53,202 --> 01:01:56,069 There's a lot of information that can be codified... 506 01:01:56,205 --> 01:02:02,474 so as to set a starting point for how tango should be played. 507 01:02:03,546 --> 01:02:06,413 We're working on a manual of orchestra styles, 508 01:02:06,549 --> 01:02:12,215 but it's not easy because the maestros that know the styles 509 01:02:12,355 --> 01:02:15,224 because they played with those orchestras... 510 01:02:15,224 --> 01:02:17,590 and helped invent the styles... 511 01:02:17,727 --> 01:02:21,219 may not know how to pass on their knowledge. 512 01:02:22,598 --> 01:02:26,193 They know how to play. For them, it's natural... 513 01:02:26,569 --> 01:02:28,469 ...lik e talking. 514 01:02:29,438 --> 01:02:32,100 Sometimes they come and show us how to play... 515 01:02:32,241 --> 01:02:36,974 without giving us a more precise technical explanation. 516 01:02:40,183 --> 01:02:42,913 Don't hit it any harder. I've brok en a few already. 517 01:02:43,686 --> 01:02:47,247 Recently, Alcides Rossi came by, he was double bass player for 518 01:02:47,423 --> 01:02:51,416 the orchestras of Troilo, Gobbi and Pugliese. 519 01:02:52,595 --> 01:02:57,430 We ask ed him to play "La Yumba" in Pugliese's style, 520 01:02:57,600 --> 01:02:59,067 which is a very particular style. 521 01:02:59,635 --> 01:03:03,093 He took the double bass and said: "It goes lik e this." 522 01:03:04,640 --> 01:03:07,131 "But, no, how? Show us again!" 523 01:03:13,516 --> 01:03:19,318 And we had to watch him, tak e a mental picture... 524 01:03:20,156 --> 01:03:25,321 and try to translate it so anyone could understand. 525 01:03:25,494 --> 01:03:31,228 We noticed that what he did with his wrist, 526 01:03:31,667 --> 01:03:37,230 rubbing the bow upwards on the string... 527 01:03:38,107 --> 01:03:41,634 generated this difference in style. 528 01:03:41,777 --> 01:03:47,340 Instead of simply passing the bow over the string, 529 01:03:48,084 --> 01:03:49,949 he drags it upwards on "La Yumba", 530 01:03:50,086 --> 01:03:55,023 and that little noise mak es all the difference. 531 01:03:55,791 --> 01:03:57,725 Are you ready to give the conference, maestro? 532 01:03:58,060 --> 01:04:01,188 Now, thanks to codified information, 533 01:04:01,330 --> 01:04:04,766 we can show it to any double bass player in the world. 534 01:04:06,969 --> 01:04:10,268 The intention of this workshop is, without being too technical... 535 01:04:10,406 --> 01:04:11,737 You're enjoying this, huh? 536 01:04:11,874 --> 01:04:16,311 Without being too technical, to show with musical examples 537 01:04:16,445 --> 01:04:18,003 the differences between tango styles. 538 01:04:18,514 --> 01:04:22,610 Let's concentrate on the four beats that tango has. 539 01:04:22,852 --> 01:04:27,152 It has a natural accent on the first and third counts. 540 01:04:27,690 --> 01:04:32,150 Pugliese's style gives to those first and third beats... 541 01:04:32,295 --> 01:04:34,763 a very exaggerated accent. 542 01:04:34,964 --> 01:04:38,092 This is called "Yumba," by onomatopoeia. 543 01:04:38,234 --> 01:04:42,102 "Yum" being the accent, and "ba" the unaccented. 544 01:04:44,573 --> 01:04:46,404 I'm going to say all these silly things. 545 01:04:46,943 --> 01:04:48,205 Let's hear it, please. 546 01:04:53,082 --> 01:04:56,540 The bandoneons will play first without these accents... 547 01:04:56,686 --> 01:04:59,018 and you'll see how it loses all the tango flavor. 548 01:04:59,155 --> 01:05:04,320 Then they'll add the accents for "La Yumba." 549 01:05:04,894 --> 01:05:07,454 Without the accents, it's just staccato. 550 01:05:18,307 --> 01:05:20,207 And now the real way, guys. 551 01:05:24,647 --> 01:05:25,636 That's it. 552 01:05:29,151 --> 01:05:32,177 For this last example, we have a little gem: 553 01:05:32,321 --> 01:05:34,448 The percussive use of the violin. 554 01:05:34,991 --> 01:05:38,017 We very often hear weird sounds in tango... 555 01:05:38,194 --> 01:05:41,129 and many of them originate from the violin, small as it is. 556 01:05:42,198 --> 01:05:47,864 Not only Piazzolla used these weird violin sounds. 557 01:05:48,637 --> 01:05:54,473 These sounds were invented by Julio de Caro back in the '20s. 558 01:05:54,710 --> 01:05:57,474 But Piazzolla used these sounds extensively. 559 01:05:57,613 --> 01:05:59,513 We'll start with something called the "cicada." 560 01:06:09,091 --> 01:06:11,116 Now, one called the "drum." 561 01:06:20,036 --> 01:06:21,503 And now, the "whip." 562 01:06:34,517 --> 01:06:38,453 And now, the violins playing all these noises together. 563 01:06:52,668 --> 01:06:53,836 Maestro, what happened? 564 01:06:53,836 --> 01:06:55,497 Don't you use your hearing aid anymore? 565 01:06:55,638 --> 01:06:57,503 - It doesn't work. - No? 566 01:06:58,074 --> 01:07:00,476 It gives me what I don't need. 567 01:07:00,476 --> 01:07:07,848 I don't need more volume. I need clarity. 568 01:07:09,485 --> 01:07:11,953 This is a serious problem... 569 01:07:12,888 --> 01:07:14,879 and it concerns me more each day. 570 01:07:16,959 --> 01:07:18,893 I'm going to do new tests now. 571 01:07:19,028 --> 01:07:23,226 I heard Salgan had a similar problem. 572 01:07:23,566 --> 01:07:24,931 - Who? - Salgan. 573 01:07:25,067 --> 01:07:29,629 He says he's playing and then in one octave on the piano, 574 01:07:29,772 --> 01:07:31,933 he hears one tone lower. 575 01:07:32,174 --> 01:07:33,698 When I'm playing the bandoneon... 576 01:07:33,843 --> 01:07:36,971 and I have to suddenly change chords, 577 01:07:39,281 --> 01:07:42,648 I'm lik e... it's totally different. 578 01:07:43,686 --> 01:07:45,483 That's what happens to Salgan. 579 01:07:46,856 --> 01:07:50,849 - He plays the piano and... - Your position changes... 580 01:07:50,993 --> 01:07:53,291 with the piano, too, as if you played, 581 01:07:56,198 --> 01:07:59,201 a much lower note. 582 01:07:59,201 --> 01:08:02,295 That's what happens to him, so he wants to stop playing. 583 01:08:02,938 --> 01:08:04,929 - He wants to what? - To stop playing. 584 01:08:10,513 --> 01:08:12,606 I haven't been able to solve it yet. 585 01:08:14,483 --> 01:08:17,145 They say I need to use an aid in both ears, but... 586 01:08:17,286 --> 01:08:22,553 if a favorable result existed, 587 01:08:22,791 --> 01:08:24,986 I should've felt it in one ear already. 588 01:08:26,295 --> 01:08:28,126 But it doesn't improve with this system. 589 01:08:29,365 --> 01:08:32,095 I have to find another way, which I don't think exists. 590 01:08:53,155 --> 01:08:54,213 What did he say? 591 01:08:57,026 --> 01:08:58,254 That he wants to quit. 592 01:09:00,863 --> 01:09:01,989 What did he say? 593 01:09:04,466 --> 01:09:06,093 Just that. He wants to quit. 594 01:09:11,640 --> 01:09:15,736 He feels uncomfortable because, 595 01:09:16,378 --> 01:09:21,839 he can't differentiate sounds at rehearsals. 596 01:09:24,019 --> 01:09:25,247 And so, 597 01:09:27,223 --> 01:09:32,855 he's afraid of becoming a decorative figure. 598 01:09:35,164 --> 01:09:36,654 But it's not lik e that. 599 01:09:42,938 --> 01:09:49,639 I asked him if that was really the problem... 600 01:09:51,247 --> 01:09:57,948 or if he was tired and wanted to be with his family. 601 01:09:59,421 --> 01:10:01,013 He said it wasn't that. 602 01:10:02,591 --> 01:10:05,890 He feels he's not helping the project... 603 01:10:06,028 --> 01:10:10,488 and doesn't want to become a decoration. 604 01:10:12,701 --> 01:10:16,899 That's not true because he's very important at rehearsals. 605 01:10:19,108 --> 01:10:22,305 I think I convinced him to go on. 606 01:10:25,414 --> 01:10:26,403 But... 607 01:10:27,850 --> 01:10:31,809 one day he'll retire. That day will come. 608 01:10:34,256 --> 01:10:36,724 But not today. Today we go to the Colón. 609 01:11:13,262 --> 01:11:15,162 We'll just play it to there. 610 01:11:15,297 --> 01:11:16,662 It's OK. 611 01:11:16,832 --> 01:11:17,958 Ready? 612 01:11:55,871 --> 01:11:57,236 Are you nervous? 613 01:11:57,873 --> 01:11:59,363 Are you nervous? 614 01:11:59,508 --> 01:12:00,839 Of course, we are. 615 01:12:01,844 --> 01:12:04,642 I think Ignacio is more nervous than I am. 616 01:12:04,880 --> 01:12:08,338 Because he says, "With this guy, you can't do anything." 617 01:12:09,017 --> 01:12:12,817 When I started this project 5 years ago, 618 01:12:13,555 --> 01:12:18,151 everyone lik ed it but they all said the same thing: 619 01:12:18,293 --> 01:12:20,921 You'll do it "si sos brujo." 620 01:12:21,063 --> 01:12:23,588 Which means "you need magic to do this." 621 01:12:25,000 --> 01:12:27,400 That's perfect because "Si Sos Brujo" 622 01:12:27,536 --> 01:12:30,403 is also the name of a tango by Emilio which he's 623 01:12:30,539 --> 01:12:32,370 playing today in the Colón. 624 01:12:33,242 --> 01:12:37,679 That's so great! For me, it closes a little circle. 625 01:12:38,247 --> 01:12:41,774 Being at the Colon with Emilio, celebrating him... 626 01:12:42,217 --> 01:12:45,209 I hope he can feel... 627 01:12:45,954 --> 01:12:48,616 not only how much we respect him as a teacher, 628 01:12:49,191 --> 01:12:52,490 but also how much we love him. 629 01:12:55,697 --> 01:12:58,359 Maestro Emilio Balcarce! 630 01:13:56,925 --> 01:13:57,892 And now... 631 01:13:59,061 --> 01:14:04,465 We have a surprise for Maestro Emilio Balcarce. 632 01:14:05,901 --> 01:14:10,702 We invite to the stage the maestros Julián Plaza, 633 01:14:12,508 --> 01:14:16,945 Victor Lavallén, Roberto Alvarez, 634 01:14:18,914 --> 01:14:20,575 and Mauricio Marcelli. 635 01:14:22,351 --> 01:14:25,411 For all of you..."La Yumba!" 636 01:14:39,101 --> 01:14:40,966 What a row of bandoneons! 637 01:15:16,171 --> 01:15:20,699 This very intense work by the kids of the Orchestra School, 638 01:15:20,842 --> 01:15:22,469 Ignacio, the coordinator, 639 01:15:23,478 --> 01:15:26,777 and the enthusiasm I put into it... 640 01:15:27,382 --> 01:15:30,613 not only means the orchestra is alive, but also that I'm alive. 641 01:15:30,919 --> 01:15:35,720 Having lived many years doesn't mak e you alive. 642 01:15:35,857 --> 01:15:38,026 Some people give up, and do nothing. 643 01:15:38,026 --> 01:15:40,221 I'm alive because I'm doing things. 644 01:15:40,796 --> 01:15:43,959 And perhaps I'm contributing something 645 01:15:44,099 --> 01:15:47,227 so the tango can continue with all the strength 646 01:15:47,369 --> 01:15:49,769 our music deserves. 647 01:15:50,205 --> 01:15:53,402 Things went well. For how long? You never know. 648 01:15:53,842 --> 01:15:55,400 That's the question. 649 01:15:56,111 --> 01:15:58,807 And this question is decided by the years. 650 01:16:00,082 --> 01:16:02,141 Nothing else but the years. 651 01:16:02,584 --> 01:16:04,779 Because I could go on forever.