Throughout the history of Western music no other dance form has stirred society with as much controversy, criticism, glamour, scandal, ridicule, praise, nor been as loved as the infamous Tango. Both a panacea and a determinant for broken hearts and broken lives the Tango has touched virtually everyone. Royalty, clergy, and much of society were unanimous in damning this Argentinean dance when it spread from the slums of Buenos Aires to the dance floors, concert halls and private parties of the Northern hemisphere during the early part of the last century.
The British magazine The Gentlewoman described the Tango as “the dance of moral death, the creation and manifestation of barbarism.” The Archbishop of Lyons said: “ This abominable dance kills virtue, and gives rein to every appetite.” “We condemn the dance of foreign origin known as the Tango, which by its lascivious nature offends morality” proclaimed the Archbishop of Paris. Concerning “Tango Teas” Father Bernard Vaughan commented: “ It is not what happens at a Tango Tea that so much matters as what happens after it. I have been too long with human nature not to know that, like a powder magazine, it had better be kept as far as possible fireproof.” The Atlanta Bible conference declared that the Tango is a revision to the ape, and thereby a confirmation of Darwin’s theory. An article in the New York Times spoke of the curative powers of the dance relating an individual’s disappearance of indigestion after learning the Tango. At the peak of anti-Tango agitation in 1914, the Argentine Ambassador declared that “the Tango is a dance peculiar to the houses of ill fame in Buenos Aires, and is never cultivated at respectable gatherings.”
The Milonga and the Habanera provide the roots for the Tango. There is speculation as to the origins of the Iberian or Tango de Andalusia. Argentina was populated predominately during the last two centuries by immigrants from Galicia or Northwestern Spain. It is accepted that the Tango was brought back to Spain from Argentina and converted into the Andalusian derivative. The Milonga is a much older Argentinean dance that originated as a song among the lower social strata of Buenos Aires. It held its popularity until it was absorbed by the Tango around the turn of the century (c 1900) yet has remained in use today and is still distinguishable from its illustrious offspring. Both Tango and Milonga get their characteristic swing or lilt from the Cuban Habanera. This rhythm, in two, consists of dotted eighth, sixteenth and two eighths with a strong emphasis on two. The Milonga puts more emphasis on one, the fourth sixteenth of one, and the up beat of two. On this recording I have included works that represent each of these three passionate forms.
Upon its debut the Waltz (or Vals) was almost universally opposed as well. Burney in Rees’s Cyclopaedia (c 1805) states: “The verb walsen, whence this word is derived, implies to roll, wallow, welter, tumble down, or roll in the dirt or mire. What analogy there may be between these acceptations and the dance, we pretend not to say; but having seen it performed by a select party of foreigners, we could not help reflecting on how uneasy an English mother would be to see her daughter so familiarly treated, and still more to witness the obliging manner in which the freedom is returned by the females.”
Both the European and Latin American Waltz forms are represented on this recording. The traditional Viennese Waltz with three beats to the measure, puts the emphasis on the first beats de-accenting the second two, i.e. um-pah-pah. The Venezuelan Valses are in 3/4 - 6/8. When in three, there is an accent on one and three. But this form will usually jump back and forth between two beats to the measure and three. This in turn creates the characteristic syncopations that we associate with the Latin Vals. As concert pieces performers may, while maintaining the implication of the proper accents, employ varying degrees of rubato, a somewhat elastic rhythm.
Steven Novacek - Bio
Steven Novacek, who’s playing has been described as “...warm, lively and synchronous.” (Tim Page, The New York Times), “…cleanly, with as much expressivity and flexibility as is proper to the music, and with an attractively warm tone.” (John Duarte, Gramophone), has long demonstrated a performance versatility unique among guitarists. His professional concert repertoire is all encompassing, equally balanced between solo, duo, trio, chamber and orchestral concerti works. Mr. Novacek has appeared at numerous festivals and concert halls in North America and Europe including Merkin Hall (New York); Benaroya Hall and Meany Theater (Seattle); Recountres Internationales de la Guitare (France); the Guitar Foundation of America (Denver); Colorado Music Festival; the Abbey Bach Festival (Oregon); EXPO(British Columbia); and the American Guitar Society (Los Angeles).
Appearing on several recordings for the Ambassador, Overture, Naxos and Klavier labels, his discography includes: Tangos and Valses; Guitar Music of the Americas; The Gypsy Influence; NOVARAGS; Works of Fernando Sor,Op.33 and 35; The Romantic Gypsy; and Novacek - Bissiri, Classical Guitar Duo. Currently, Mr. Novacek directs the guitar and lute program at the University of Washington and the classical guitar department at Cornish College of the Arts.
“...uncanny, accuracy and flair...an internationally respected guitarist whose fame should be enhanced by this well-chosen and beautifully played disc Guitar Music of the Americas. Even Novacek’s fans may be surprised by the variety of performance styles and techniques employed here, and by the brilliant array of sounds he draws from the guitar. This is an impressive achievement.” ---THE SEATTLE TIMES
"...Novacek delivers refined riffs...riveting yet eloquent interpretations of works by some of South America's most renowned composers."---THE ROCKET
"...warm, lively and synchronous."---THE NEW YORK TIMES
"...performed with a degree of grace and serenity that is almost breathtaking." ---THE VANCOUVER SUN
"...thoroughly enjoyable, both for the quality of the music and for the vitality with which it is performed." ---CLASSICAL GUITAR MAGAZINE
"...playing of this quality is certainly a rare delight." ---THE IRISH TIMES
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