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Trifulca was born in 2015 to move the contemporary tango scene, which incorporates two elements: humor and social and political criticism.
The hectic scene of contemporary tango has as one of its most belligerent protagonists the Trifulca formation, convoluted tango. According to Diego de Charras, his guitarist and arranger, postulates a “somewhat heretic relationship with the canon” musical and a singular orientation in which social criticism occupies a place of centrality.
“ We have a timbric formation that is not completely alien to tradition but that is not completely canonical either. And we play with two elements that, although they have a background in the history of tango, do not have a strong presence: humor and social and political criticism”, explained De Charras on the training.
The guitarist thus pointed out the transformation that involved Trifulca. The group was born in 2015 with a classic trio format with bandoneon and guitar. Now it offers a training with double bass and, above all, the viola, which brings a nuance to the most consolidated sound of Buenos Aires aesthetics. The current integration is made up of De Charras (guitar and arrangements), Irene Frydenberg (vocals), Federico Kersner (bandoneon), Lorena Silva Paiva (viola) and Horacio Bazzi (double bass).
“ We started with a more traditional relationship with tango and its subgenres (waltz, milonga). Then we advance to candombe and some derivation of the chamamé. We gradually incorporated versions of Argentine rock and folklore in tango time, and then added compositions of our own or of contemporary authors,” explained De Charras.
“ Along this path there is an emphasis on some compositions with a certain political sense such as 'La estrella del Pueblo' by Peteco Carabajal, dedicated to Eva Perón, or 'Milonga del Fusilado' by Los Olimareños, dedicated to Ernesto “Che” Guevara”.
De Charras: It is a fairly heterodox dialogue relationship. It seems to us that this is the best place to exchange with the genre. We try to be respectful, but at the same time without getting caught up in a canon formula. For example, we make a version of “Tu” (José Dames and José María Contursi) that begins in blues, unfolds in jazz and has an outcome under the temperament of a bossa nova. But at the same time there are authors, such as Enrique Santos Discépólo, who make them close to their more consolidated versions. We work with our own themes and works by contemporary authors. Such is the case of Jorge “Alorsa” Pandelucos or Alfredo “Tape” Rubin.
DC: It is a very varied environment where, from now, there are very different tastes and lines. I think we feel very close to those who intend to build new lyrics and music. But even, within that variant, the existing formations are very diverse from each other. There are composers, such as the “Tape” Rubín, who observe it very close to our identity because on the one hand he escapes tango and, on the other, one would say that he never betrays it.
In this line we all have the challenge of working to consolidate an audience, to overcome the difficulties of the musical circuit and - the most difficult- to route against the cultural obstacle that looks at tango from a place full of prejudices or pruritos and, that barrier, especially towards more new generations, is the most complex to remove.
Publication Date: 27/06/2019
Hermosa nota , solo le falta el sonido de un grupo musical que te emociona y conmueve durante todo el recital