레오나르도 다빈치
93% 프로필 일치도
Photo: Carlos Ebert, CC BY 2.0 (via Flickr and Wikimedia Commons) · Wikimedia Commons, 'Astor Piazzola - Composer & Bandoneonist (60228686).jpg' -- black-and-white head-and-shoulders photograph of Astor Piazzolla published on Flickr by Carlos Ebert (Sao Paulo), who describes himself as co-director and director of photography of a documentary made on Piazzolla in Buenos Aires and Mar del Plata, under CC BY 2.0; the Commons file was imported 2020-09-21 and passed the FlickreviewR licence check. Original 1272 x 1832 pixels (SHA-1 28d566b6, matches the Commons record); saved downscaled only (never upscaled) to 833 x 1200. The date of the photograph is not stated (the Flickr/Commons date 2005-11-05 is the upload time; Piazzolla died in 1992). · CC BY 2.0
작곡가 · 20세기
아스토르 피아졸라
1921
주요 업적 분야
예술문화
아직 성격 매칭에 포함되지 않았습니다 — 기록된 근거가 성격 모델 전체를 다루기에는 충분하지 않습니다. 이 페이지의 다른 모든 내용은 자유롭게 확인하실 수 있습니다.
핵심 특성
주요 업적
아르헨티나 탱고를 재즈와 클래식 작곡 기법과 결합한 '누에보 탱고'로 새롭게 만들고, 춤이 아닌 감상을 위한 탱고를 썼다.
알베르토 히나스테라와 나디아 불랑제에게 작곡을 배운 뒤, 옥테토 부에노스아이레스에서 퀸텟에 이르기까지 자신의 탱고와 독주 악기로서의 반도네온을 중심으로 직접 악단을 꾸렸다.
'아디오스 노니노', 탱고 오페라 '부에노스아이레스의 마리아', '탱고의 다섯 가지 감각' 등 대표작을 남겼고 1980년대에 해외에서 널리 인정받았다.
삶의 장면들
1954년 잡지 인터뷰에서 그는 비판자들에게 자신의 음악은 부에노스아이레스의 동시대 음악이며, 자신은 전통주의자들이 믿는 탱고의 적일 뿐이라고 답했다.
탱고 주류에 맞서 자신의 음악적 방향을 공개적으로 옹호하려는 태도와 일치한다. 독립적 사고
호라시오 페레르와 함께 쓴 1968년의 탱고 오페라 '부에노스아이레스의 마리아'는 야심차고 논쟁적이었으며 그를 파산 직전까지 몰았다. 그는 쓰레기 같은 작품으로 부유한 것보다 이 작품으로 빈털터리가 되는 편이 낫다고 말했다고 한다.
예술적 목표를 위해 재정적 위험을 감수하는 태도와 일치한다. 위험 감수
전환점
1954~55년 파리에서 나디아 불랑제는 그의 연주회용 작품이 기교는 좋으나 감정이 부족하다고 보았고, 탱고 '트리운팔'을 '진짜 피아졸라'라고 평했다. 이후 그는 자신의 악단에서 탱고와 클래식을 결합했다.
탱고라는 배경을 버리지 않고 정규 교육과 결합함으로써 창작의 방향을 찾았음과 일치한다. 창의적 독창성
비슷한 인물
전체적인 프로필이 이 사람과 닮은 사람들이에요.
출처
- Astor Piazzolla (Q172505) -- verified live via the Wikidata API (2026-10-23): English label 'Astor Piazzolla', description 'Argentine tango composer, bandoneon player and arranger', born 1921-03-11, died 1992-07-04 (a second statement gives 5 July), citizenship Argentina, Korean label present, English and Korean Wikipedia sitelinks present, P18 'Astor Piazzolla.jpg'. Orientation only; not used as support for any row.
- EBSCO Research Starters, 'Astor Piazzolla' (ebsco.com), read in full as a structured summary: birth in Mar del Plata in 1921, childhood in New York and a bandoneon from 1929, joining Anibal Troilo's orchestra in Buenos Aires, six years of composition study with Alberto Ginastera from 1941, the 1953 Fabien Sevitzky Prize for 'Buenos Aires, tres movimientos sinfonicos' and the French scholarship, the Paris study with Nadia Boulanger (she respected his classical works but found them lacking feeling and recognised his tango 'Triunfal' as 'the true Piazzolla'), his ensembles (Octeto Buenos Aires 1955-58, the Quintet 1960-70 and 1978-88, Octeto Electronico 1974-77), tangos written for listening not dancing and resisted by traditional tango musicians, 'Adios Nonino' (1959), the 1968 tango-opera 'Maria de Buenos Aires' with Horacio Ferrer (ambitious, controversial, nearly bankrupted him; he is quoted saying it was better to be broke with it than flush with 'some garbage'), worldwide recognition in the 1980s, and Yo-Yo Ma's and Don Heckman's comparison of his role for tango to Gershwin's and Ellington's for jazz. CANONICAL SIGNIFICANCE SOURCE (with the Alabama Symphony biography). Reference-style biography, broadly admiring but it records resistance and mixed reviews. Its passages on his childhood leg condition, his family, his 1988 heart problems and his 1990 stroke were not used.
- Alabama Symphony Orchestra, 'Astor Piazzolla' artist biography page (aso.org), read in full: Argentine-born to Italian parents, a childhood in New York with jazz and Bach, the 1953 'Buenos Aires Symphony' that won a French grant to study with Nadia Boulanger, the nuevo tango that 'transformed traditional tango' with jazz and classical elements, the Octeto Buenos Aires formed after his 1955 return, the 1985 Almeida Theatre concert and the 1987 Central Park concert of his Quinteto Tango Nuevo, and the later custodians of his style (Pablo Ziegler, Marcelo Nisinman). CANONICAL SIGNIFICANCE SOURCE (with EBSCO). Programme-note style institutional summary; says nothing on traditionalist reception, which is why it was paired with other sources.
- Redaccion Diario de Cuyo, 'El recuerdo del Gran Astor' (diariodecuyo.com.ar, 4 July 2012, 20th anniversary of his death), read in full in Spanish: his early meeting with Carlos Gardel in New York, work in Troilo's orchestra, more than 300 tangos and scores for about 40 films, heavy criticism in the 1950s-60s from the orthodox 'Guardia Vieja' who called him 'el asesino del tango', the claim that his works were not played on radio and record labels did not dare release them, and his 1954 Revista Antena interview (he answers that his music is 'contemporary music of Buenos Aires' and that he is an 'enemy' only of the tango the traditionalists believe in, 'they still believe in the compadrito; I don't'). Argentine press retrospective; this is the counter-voice (the traditionalist hostility) and the best Argentine-side behavioural source, though the radio and record-label claims are the paper's own unreferenced statements and its Gardel anecdote is not scored.
- American Public Media, Saint Paul Sunday featured-artist page for the Assad Duo (saintpaulsunday.publicradio.org, programme of 23 July 2000), read in full for its Piazzolla background paragraphs: detractors charged that he was trying to 'kill' tango with his mix of styles, the ruling military junta reportedly called his new tango 'too avant-garde', enthusiastic young Argentine audiences, European concerts in the 1970s-80s, his aim of restoring tango's emotional force, his remark that 'if I do a fugue in the manner of Bach, it will always be tanguificated', his insistence that his music was carefully studied and 'very elaborate', and the introduction of cello and electric guitar while dropping singers and dancers from his ensembles. Public-radio programme note, independent of the Argentine paper; the junta remark is incidental politics and is not scored.
- Fresh Air archive, 'Remembering the Assassin of Tango' (freshairarchive.org; Terry Gross's 19 April 1988 interview, rebroadcast 6 July 1992 after his death), read as the programme page only (the transcript is marked unavailable): describes his tangos as a hybrid of classical music, jazz and rock, groups he led from the early 1960s linking the Argentine form with European and American innovations, his classical training and study with Boulanger, his 1970s years in France writing film scores, and that his changes to tango earned him the 'enmity of Argentinians'. Used only to corroborate the traditionalist opposition and the hybrid style; the audio itself was not heard.
- Composers Datebook, 'Piazzolla passes' (yourclassical.org, American Public Media, 5 July 2014 episode), read in full (short radio note): bandoneon virtuoso, scholarship to study with Boulanger who encouraged him to explore the music he knew best, a 'reinvented' tango called nuevo tango that was 'dark and brooding', and his remark shortly before death that tango is 'sad and dramatic, but not pessimistic'. Short radio note; used for corroboration only and the age/date of death (it says 5 July where other sources say 4 July, which is why no death-date detail is used).
- Kronos Quartet, recording page for 'Astor Piazzolla: Five Tango Sensations' (kronosquartet.org), read in full: the 1989 suite for bandoneon and string quartet recorded with Piazzolla (album issued 1991); violinist David Harrington's account (reproduced from a WOMEX interview, undated) that Piazzolla's 'willpower was extraordinary', that 'he just pulled the music out of everybody including himself', and that the recording took about two hours, which the quartet had never matched; an AllMusic reviewer's line that Piazzolla 'plays his heart out'. Collaborator account (admiring, retrospective, self-interested in promoting the recording): only one perspective on studio conduct, so it supports no trait row alone.
- Claudio Constantini, 'Astor and Nadia' (newsletter, constantinimusic.beehiiv.com, 12 March 2024), read in full: an Argentine bandoneonist's retelling of the Paris meeting in which Boulanger found Piazzolla's concert works skilful but impersonal, asked what he played at home, and told him of a tango he played for her 'This is the real Astor'. Cites no sources and gives no dates; a musician's blog retelling of a standard anecdote, used only as a duplicate of the Boulanger story already in the EBSCO biography (not an independent perspective and no trait row rests on it).
- Wikimedia Commons file page 'Astor Piazzola - Composer & Bandoneonist (60228686).jpg' (with the Commons API record, wikitext and FlickreviewR record) -- checked for the portrait: author Carlos Ebert (Sao Paulo), Flickr id 60228686, licence CC BY 2.0, Flickr licence review passed 2020-09-21, original 1272 x 1832 pixels. Rights record only; no trait row rests on it.