I believe that such compositions can be interpreted by imagination, by our ability to dream. In this music I can perceive a certain kind of dance-vision, an extension of Piazzolla and post-Piazzolla music, a legitimate and illegitimate filiation, the recognition of the origins and a continuation over the times of this mutant urban sound.
So, dancing together, we send each other the dreams of our soul, thus opening our heart to a stranger. Nevertheless, it talks us about dance, about an “abrazo” that becomes the dance, the moment that music resonates within our bodies. Reading the booklet accompanying “Tentaciòn Tango” and in the proposal by Fasanini, I found something making me think how it’s not necessarily an heresy… dancing to the music of Piazzolla.
Yet, they often dance to his music today. Even if, in his music, Piazzolla seems to say – sometimes almost shouting and seeking provocation – that in the greatness and peculiarities of Tango he didn’t want to compose music for dancers. As for every child, either legitimate or illegitimate, after the origination there is autonomy.
The bond with Piazzolla is transparent, it glides from one theme to another, in the punctuation of sentences, in the musical intentions, winking both to classical and chamber music.
The formation’s name of the bandoneonist and composer Alejandro Fasanini means “The illegitimate children of Astor” … but I’m tempted to say, with respect to their name, that they are both legitimate and illegitimate.