myway » Пт май 22, 2009 10:47 
Release Date: 2002
Country: Uruguay, Argentina
Track List
01. La puñalada (Pintín Castellanos) - milonga
02. La cumparsita (Gerardo H Mattos Rodriguez) - tango
03. Guardia vieja (Julio de Caro) - tango
04. Palomita blanca (Anselmo A Aieta) - vals >>>
05. Milonga de mis amores (Pedro B Laurenz) - milonga
06. Garúa (Aníbal Troilo) - tango
07. Sur (Aníbal Troilo) - tango
08. La trampera (Aníbal Troilo) - milonga
09. Taquito militar (Mariano Mores) - milonga
10. Jacinto chiclana (Astor Piazzolla) - milonga
11. Prepárense (Astor Piazzolla) - tango >>>
12. Lo que vendrá (Astor Piazzolla) - tango
13. Buenos Aires hora cero (Astor Piazzolla) - tango
14. Café 1930 (Astor Piazzolla) - tango
15. Night Club 1960 (Astor Piazzolla) - tango
Качество: 320 kbps
Размер: 59 + 67 Mb
Скачать:
http://rapidshare.com/files/233922025/B ... ucci-1.rar
http://rapidshare.com/files/233922377/B ... ucci-2.rar
http://www.mediafire.com/?tzdmj5mdmyz
http://www.mediafire.com/?jyqm42oumm0
An overview of some of the greatest contributors to the tango since 1900. Originally, the album was planned as a duet of Baltazar Benitez and Astor Piazzolla; however, Alfredo Marcucci was added after Piazzolla's death. The album is divided more or less into three sections: the Old Guard, the Transition Period, and the New Guard. This corresponds to the period before Anibal Troilo, the Troilo/Piazzolla period, and the period that Astor Piazzolla ushered in -- the nuevo tango. Given the limited instrumentation, the collection is surprisingly good, in part because of the exceptional compositions (why the compilation was made in the first place), but also due to the dexterity of the players. Any true fan of the tango will find it a refreshing look through the styles of the century within the genre, with a special emphasis on Piazzolla's work (a friend of Benitez). Look into it as a fan.
Alfredo Marcucci began playing bandoneon at a very early age under the guidance of his uncle, the renowned bandoneon-player Carlos Marcucci, and developed his feeling for tango in the Buenos Aires of the thirties (Cafй Concert, Night Club, etc.) At eight years old he played for the famous tango composer Julio de Caro who lavishly praised the virtues of this young talent and took him as his pupil. He was invited to join the Julio de Caro orchestra at 18, together with his uncle. This was to be the beginning of a brilliant career. He also played in many other orchestras: Raъl Camplъn, Osvaldo Donatto, Enrique Franccini, Juan Canaro, etc. In 1956 he joined the famous Carlos di Sarli orchestra with which he made many recordings. He was asked to join Baltazar Benitez in 1990 to form a duo for bandoneon and guitar.
The Uruguayan guitarist, Baltazar Benítez, began guitar studies at age 12 with Pedro Machin, and later worked with Abel Carlevaro, at the National Conservatory of Music in Montevideo.
In 1968 Baltazar Benítez started his professional career with success; he was chosen by the 'Jeunesses Musicales' from his native country to give a series of concerts. In 1969, he was first-prize winner in a contest organized by the Uruguayan radio. Numerous important concerts followed, including several radio- and television performances, where Baltazar Benítez displayed an extremely diverse repertory: among others, concerts with orchestral accompaniment such as Mario Castelnuovo-Tedesco and Joaquin Rodrigo's world-famous Concierto de Aranjuez. One year later, in 1970, he won yet another Uruguayan contest, organized by the Centro Cultural de Musica and in the same year he received a grant from the Spanish Cultural Institute to study in Santiago de Compostela with José Tomás, teacing assistant to Andrés Segovia. Again one year later, in 1971, Benítez won 1st prize at the annual international guitar competition in Santiago de Compostela. The following year he was sent by his country as the official delegate, to the 26th World Congress of the 'Jeunesses Musicales', which was held in Augsburg, Germany. There he was greatly acclaimed for his playing, particularly for his interpretations of South-American music. Following this, in 1973, he won first prize in the 7th International Tarrega-contest in Benicasim (Spain).
Baltazar Benítez' debut recording appeared in 1976, dedicated to Latin-American Music. It includes the first recording of Manual Maria Ponce's Theme, Variations and Fughetta on a theme by Antonio Cabezon. As a result of his musical research Baltazar Benítez displayed his superb feeling for European Baroque music in 1980 when his 2nd album appeared. A high-standard interpretation of J.S. Bach's famous Suite for lute in E minor (BWV 996), and several Sonatas by Domenico Scarlatti (all transcribed & arranged by Benítez) were very well received - not only by guitarists - but in the general musical world as well. In 1984 he recorded another long-play record of Latin-American music, with works exclusively composed by Astor Piazzolla. Baltazar Benítez dedicated this album to Piazzolla, which contains - besides the Fine Pieces for guitar - also a number of pieces, which Benítez transcribed for guitar. In 1985 he made a tour in South-America, together with the Argentinean musician/composer Astor Piazzolla. In Montevideo (Uruguay) on December 23, 1985, they performed together the Latin-American premiere of Piazzolla's Concierto para Bandoneon, Guitarra y Orquesta.