“Contemporary Tango Trilogy” is a declaration of love to life

ALEJANDRO FASANINI, “CONTEMPORARY TANGO TRILOGY” IS A DECLARATION OF LOVE TO LIFE. THE FATTITALIANI INTERVIEW
Three hours of music, 37 original compositions in “Contemporary Tango Trilogy”, a trilogy that sees the light after many years of work, to be exact twenty years after his first tango album “Reo que confiesa” with the which won an honorable mention in the “Certamen Hugo del Carril” of the city of Buenos Aires. The composer Alejandro Fasanini talks to Fattitaliani about it. 

Let’s start from the event-presentation of the album that will take place in the Marche, how will it take place?
A great party: “Contemporary Tango Trilogy” and the “Hijos ilegítimos de Astor” Orchestra, composed of excellent, I would say magical Italian musicians, were born twenty years ago, when I arrived in Italy. The Italians have opened their hearts and welcomed me! In all these years I have met wonderful people: initially as a public, in concerts, then, little by little, with many of them a personal relationship was born, I believe for the sake of this music. For this reason it seems nice to organize this party, and invite them to the birth of “Contemporary Tango Trilogy” that after these twenty years of gestation has finally ended, divided into three discs: “Tentación-Intuición-Contemplación” 37 compositions, three hours of music.


How much “Contemporary Tango Trilogy” encompasses and summarizes your career and your music?
In 1999 my first Tango record was released, “Reo que confiesa”. Basically, a disc of songs in Spanish. That same year I came to Italy and I realized that my words, my language, no longer worked here. So I started composing only instrumentally. The distance from Buenos Aires, my hometown, and my stay in Italy were the protagonists. In the first disc of the trilogy, “Tentación Tango”, Buenos Aires is very present; then, gradually, the Italian culture, and with this I refer to its details, and always I return to the people, to their intensity, to their spontaneous way and to their desires, it has infected me completely. So basically, a process happened that I managed to live through music. “Contemporary Tango Trilogy” is for me a baptism and, at the same time, a declaration of love for life.

When did you first approach music? He says …
I was lucky enough to study music from kindergarten and then through the elementary school; after which I entered the conservatory. But I never stopped studying: for the last three years, for example, I moved to Madrid to study with Maestro Luis de Pablo, a wonderful person and artist. Finding Masters in life is something I love.

And the first time as a professional?
I was young and my first instrument was the tenor saxophone, so I did some concerts playing standards of Jazz in Buenos Aires.

Tell us about yourself, your origins …
I started living alone very young on the streets of Buenos Aires, things of life. Perhaps in those years it was a bit difficult but even there I found wonderful people who became my family, those people we call friends! Even playing kept me alive.

And your relationship with Italy?
My relationship with Italy: One Saturday, dancing in a milonga in Buenos Aires, I know an Italian woman from the Marche region. We spent a month together and then she returned to her land, here in Italy. We kept hearing each other by email and after a few months I came to visit her. The particular thing is that I have never returned to Buenos Aires and I cannot say the precise reason. However, a beautiful love story that lasted for a few years.

On a musical level, do you see interesting movements and proposals around you that further stimulate creativity?
I think it’s more than interesting for a composer to know, listen, what his contemporaries are doing. I receive the main stimulus from people like “Irena Sendler”, “Berta Cáceres” “Masanobu Fukuoka”, up to “Ipazia di Alessandria”; thanks to their life I composed, and I dedicated some of my compositions to them. But the facts are also a source of inspiration, such as the Beslan massacre, for example: I composed a lullaby dedicated to the 186 dead children. In this case, my task through art is to avoid repetition of crazy things like these.

What do you wish you could try listening to your music?
Every manifestation of life is sacred and has its own sensitivity; if my music can help consider this idea, it would be a joy for me already.

Giovanni Zambito.

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