-
PLS27515
Mario TotaroTOTANTANGO (DUE PIANOFORTI E PERCUSSIONI)
Realizzazione grafica della copertina: Francesco Di ViestiImmagine di copertina tratta dall’album “Mario Totaro, Piano & Percussion Works”© Preludio, da un quadro di Luigi Ravasio ("Trio Diaghilev seconda versione", 2011)riprodotto per gentile concessione dell'autore.
Proprietà per tutti i Paesi Preludio srl edizioni musicali20125 Milano - Viale Monza 169 Tel 02-26116308© 2015 by Preludio srl – Milano (Italy)Tutti i diritti sono riservati. All rights reserved international copyright securedwww.preludiomusic.com
-
Mario Totaro
TOTANTANGOper due pianoforti (o pianoforte a quattro mani)
e percussioni
-
MARIO TOTARO - TOTANTANGO
In Totantango the distorsion, the irony, the alchemic procedure are already present in the title, based on a
play on words (“Totar” and “Toten”) that would lead one to suppose an autobiographical and at the same
time macabre connotation.
The composition is based on two arrangements (on a 1968 33 rpm) of two extremely famous tangos, ar-
rangements that aren’t genuinely folk oriented and indeed that “use” the forms of this repertoire as material
to be exploited for commercial ends, counterfeiting the same according to the dictates of an aesthetic ap-
proach that is decidedly kitsch.
This is where the sense of “Totantango” lies; the idea is that by reiterating and bringing these “acts of vio-
lence” on the repertoire (and not just a folk repertoire) to extreme consequences, one inevitably attains the
death and dissolution of the same.
This assumption is underlined in the piece by a series of procedures that progressively denaturize the musical
material that gradually becomes more and more automatic and mechanical, almost as if to symbolise the
growing “dehumanisation” of the product. At the beginning they seem only to produce small, gratuitous,
funny distortions but little-by-little one realises that it is the very development and natural proliferation of
these “moles” that leads to a “cancer” that will cause the death of the infected organism. The same tonal
functions, already “attacked” in the first part of the work, progressively disappear from the second part,
where the chords gradually turn into simple aggregations of intervals to be manipulated according to implac-
able iron rules.
The proliferation of “cancer cells” soon leads to paroxysmal climax, followed by a huge explosion and hence
a slow, inexorable dissolution; in the last part of the piece the material of the two tangos is crushed into tiny
pieces, spun and dispersed up to attaining total extinction, silence, nothingness.
The quotations present in the piece almost pass unnoticed (from Chopin to Rossini, from Rachmaninov to
popular Italian folk “liscio” up to the Donatonian style in the finale), and their heterogeneous nature seems
to allude to a situation in which the artistic products, evermore defiled by a system that mainly follows mar-
ket rules, end up by totally losing their cultural identity.
In Totantango la deformazione, l’ironia, il procedimento alchemico sono presenti già nel titolo, basato su un
gioco di parole (“Totar” e “Toten”) che farebbe supporre una connotazione autobiografica e macabra al tem-
po stesso.
La composizione si basa su due arrangiamenti (facenti parte di un vinile del 1968) di due celeberrimi tanghi,
arrangiamenti che nulla hanno di genuinamente popolare e che anzi “usano” le forme appartenenti a questo
repertorio come materiale da sfruttare a fini commerciali, contraffacendole secondo i dettami di un’estetica
decisamente kitsch.
Il senso di “Totantango” è proprio qui: la tesi è che reiterando e portando alle estreme conseguenze tali “atti
di violenza” sul repertorio (non solo popolare) si giunga fatalmente alla sua morte e dissoluzione.
A questo assunto corrispondono puntualmente, nel brano, una serie di procedimenti di progressiva “denatu-
razione” del materiale musicale che divengono gradualmente sempre più automatici, meccanici, quasi a sim-
boleggiare la crescente “disumanizzazione” del prodotto. All’inizio sembrano solo piccole, gratuite, diver-
tenti deformazioni, ma a poco a poco ci si rende conto che proprio dallo sviluppo e dalla naturale prolifera-
zione di tali “nei” nasce e si sviluppa il “cancro” che causerà la morte dell’organismo infetto. Le stesse fun-
zioni tonali, già “aggredite” nella prima parte del lavoro, spariscono progressivamente nella seconda, dove
gli accordi vengono sempre più interpretati come semplici aggregati di intervalli da manipolare secondo re-
gole ferree ed implacabili.
La proliferazione delle “cellule impazzite” conduce ben presto a un climax parossistico, cui fa seguito
un’immane esplosione e quindi un lento, inesorabile dissolvimento; nell’ultima parte del brano il materiale
dei due tanghi viene come triturato, centrifugato e disperso fino a giungere alla completa estinzione, al silen-
zio, al nulla.
Le citazioni presenti nel brano passano quasi inosservate (da Chopin a Rossini, da Rachmaninov al “liscio”
romagnolo, fino alla scrittura donatoniana del finale) e nella loro eterogeneità sembrano alludere a una situa-
zione nella quale i prodotti artistici, sempre più violentati da un sistema che segue prevalentemente leggi di
mercato, finiscono col perdere totalmente la loro identità culturale.
Mario Totaro
-
TOTANTANGO
Instrumentation
2 Pianos (or Piano four-hands)
Percussion (2 players)
First player:
Gl. = Glockenspiel (to be played always with metal or bone mallets – sounds two octaves higher than written)
W.TT. = Wooden headed Tom-Tom (to be played with felt or vibraphone mallets, unless otherwise stated)
Bon. = 2 Bongos (high / low - to be played with felt or vibraphone mallets, unless otherwise stated)
Sn.D. = Snare Drum (to be played without snares and with felt or vibraphone mallets, unless otherwise stated)
Basq. = Basque Drum (suspended – to be played with the hands or with felt or vibraphone mallets)
Cast. = Castanets (mounted)
Sp.C. = Spring Coil (to be played always with a metal beater)
Timp. = 2 Timpani (to be played with timpani felt mallet, unless otherwise stated)
Second player:
Xyl. = Xylophone (to be played with bone or plastic mallets, unless otherwise stated – sounds an octave higher)
Vib. = Vibraphone (motor off)
Tri. = Triangle (to be played always with a metal beater)
Rat. = Ratched
W.B. = 2 Wood Blocks (high / low – to be played with felt or vibraphone mallets, unless otherwise stated)
T.B. = 3 Temple Blocks (high /medium / low - to be played with felt or vibraphone mallets, unless otherwise stated)
Cenc. = 3 Cencerros (high / medium / low)
Sn.D. = Snare Drum (to be played without snares and with felt or vibraphone mallets, unless otherwise stated)
Guiro = Guiro (to be played always with a guiro mallet or a reed handle mallet)
Mar. = Maraca
Gong = Gong (medium-sized – to be played always with a gong beater or a felt mallet)
B.D. = Pedal Bass Drum (a Symphonic Bass Drum played with a felt mallet using a pedal)
Shared instruments:
Cym. = 2 suspended Cymbals (high / low – to be played with soft mallets, unless otherwise stated)
N.B. = 1) Wooden headed Tom-Tom, Bongos, Snare Drums, Wood Blocks, Temple Blocks and Cencerros :
“hard” means = with wood sticks or bone (plastic) mallets.
2) Timpani : “hard” means = with wood sticks or bone (plastic) mallets.
3) Xylophone : “soft” means = with vibraphone mallets.
4) “metal” means = with a metal beater.
5) It is recommended to use two double-headed mallets or four mallets to play some instruments together or in
quick succession (e.g. : Snare Drum/Timpani; Glockenspiel/Timpani; Xylophone/Vibraphone).
6) In some cases it is possible to play the Bass Drum with a felt mallet using the arm instead of the pedal.
-
W.T
T.
2°
1°
Tim
p. 2
9"
Glo
ck.
Ca
st.
Cy
m.
Sn
.D.
Basq
.
Bon
.
W.B
.T
.B.
Cen
c.
Ra
t.T
ri.
Gu
iro
Ma
r.
Vib
.
B.D
.
Xy
l.
Tim
p. 2
6"
Gon
g
TO
TA
NT
AN
GO
Pla
cem
ent
of
per
cuss
ion
in
stru
men
ts
Sp
.C.
Sn
.D.
-
?
?
?
?
ãããã
bbbb
bbbb
bbbb
bbbb
c
c
c
c
cccc
Bon.
Sn.D.
W.B.
B.D.
1
2
Primo
Secondo
◊◊
Ÿ~~~
Œ ‰ Jœ Jœ œ- œq
œb
∑
Ó Œ ‰ Jœmolto staccato
Ó Œ ‰ jœ
∑∑∑∑
f
f
Jœb ‰ Œ Œœœn
Ó Œ œb
jœ œ- œ œn jœn ‰ œb
jœ œ- œ œnjœn‰ œn
∑Ó Œ œ
∑Ó Œ œ
S
S
S
S
Jœœ ‰ Jœ ‰ Jœ ‰ Jœ ‰
Jœn ‰ Jœ ‰ Jœ ‰ Jœ ‰
jœ‰ jœn ‰ jœ ‰
jœ ‰
jœb ‰ Œ Œ ‰ Jœmolto ritmato
e staccato
Ó Œ ‰ jœ∑∑∑
p
p S
S
Œ Jœ> ‰ Œ ‰ Jœœ
‰ œn œ> œ ‰ Jœ ‰ Jœ
jœ ‰ jœn ‰ jœb ‰ jœ jœÓ Œ ‰ jœn
∑Ó Œ ‰ JœŒ Jœ> ‰ ÓÓ Œ ‰ Jœ
S
pS
Sp
S
?
?
?
?
ãã?
ãã
bbbb
bbbb
bbbb
bbbb
bbbb
Bon.
Sn.D.
Timp.
W.B.
T.B.
1
2
I
II
(◊) ◊
5
Jœœ ‰ Jœ ‰ Jœ ‰ Jœ ‰
Jœ ‰ Jœ ‰ Jœ ‰ Jœ ‰
jœ‰ jœ ‰ jœ ‰
jœ ‰
jœb ‰ Œ Œ ‰ Jœ
Ó Œ ‰ Jœ∑∑∑∑
p
p S
S
Œ Jœ> ‰ ‰ Jœ ‰ Jœœn
‰ œ œ> œ ‰ Jœ ‰ Jœœ#
Jœn ‰ Jœb ‰jœ ‰ jœ ‰
∑
∑Ó Œ ‰ Jœ
∑Œ jœ> ‰ Ó
∑
p
S
S
Jœœ ‰ jœœn ‰ jœœb ‰ jœœ‰& ?
Jœœ ‰ Jœ ‰ Jœ ‰ Jœn ‰
jœ‰ jœn ‰ jœ ‰
jœ jœn
jœ‰ Œ j
œ‰ ‰ jœn
∑∑
Ó Œ ‰ jœn∑∑
p
S
S
Œ Jœœœn> ‰ Œ ‰ Jœœn
‰ œ œœ> œ ‰jœ ‰ Jœœn
Œ jœb ‰ jœ ‰ jœ ‰
jœ‰ Œ j
œ‰ Œ
∑Ó Œ ‰ Jœjœ ‰ Œ Ó
∑Œ Jœ> ‰ Ó
p
S
S
TOTANTANGOper due pianoforti (o pianoforte a quattro mani) e percussioni
Mario Totaro, 1988
a Francesco CalcagniniTempo di Tango ( = 120 - 132)
molto staccato molto ritmato e staccato
PLS27515 - Proprietà per tutti i paesi Preludio srl edizioni musicali
20125 Milano - Viale Monza, 169 - Tel 02 26 11 63 08
© 2015 Preludio srl - Milano, Italy
Tutti i diritti sono riservati. All rights reserved international copyright secured
www.preludiomusic.com
_______________________________________________________________________________________________________
-
?
?
?
?
ãã?
&ã
bbbb
bbbb
bbbb
bbbb
bbbb
bbbb
Bon.
Sn.D.
Timp.
Xyl.
T.B.
1
2
I
II
◊
9
Jœœ ‰ jœœ ‰ jœœ ‰ jœœ‰& ?
Jœœ ‰ Jœ ‰ Jœ ‰ Jœ ‰
jœ‰ jœ ‰ jœ ‰
jœ Jœ
jœ‰ Œ j
œ‰ ‰ jœ
∑∑
Ó Œ ‰ jœ#∑∑
p
S
S
Œ Jœœ> ‰ Œ ‰ Jœœn
‰ œ œœA> œ ‰jœ ‰ jœ
Œ jœn ‰ jœb ‰ jœ ‰
jœn ‰ Œ jœb‰ Œ
∑Ó Œ ‰ Jœ
Jœn ‰ Œ Ó
∑Œ jœ> ‰ Ó
S
p
S
Jœœ ‰ Jœœb ‰ Jœœn ‰ Jœ ‰
jœœn ‰ Jœ ‰ Jœn ‰ Jœ ‰
Œ ‰ Jœn ‰ Jœb ‰ Jœ
jœA‰ Œ Ó
∑∑∑
Œ ‰ jœn ‰ jœb ‰ jœ∑
p
S S S
S S S
‰ œœn-
‰ ˙̇-
‰ œn œ ‰ .œ Jœ
Œ ‰ Jœb> ‰ œ œn
œjœ‰ Œ Œ ‰
molto
staccato
Ó Œ ‰ jœ‰ Jœ Œ Ó
∑
∑∑
pS
S
p
SS
?
?
?
?
ãã&ã
bbbb
bbbb
bbbb
bbbb
bbbb
46
46
46
46
4646
46
46
Bon.
Sn.D.
Xyl.
W.B.
1
2
I
II
◊
13
Jœœ ‰ Jœœ ‰ JœœN ‰ Jœ ‰
Jœœ ‰ Jœ ‰ Jœn ‰ Jœ ‰
Œ ‰ Jœb ‰ Jœ ‰ Jœ
jœ‰ Œ Ó
∑∑
Œ ‰ jœb ‰ jœ ‰ jœ∑
p
S S S
S S S
‰ œœn-
‰ ˙̇b-
‰ œn œ ‰ .œ Jœ
Œ ‰ Jœ> ‰ œ œ
œjœ‰ Œ Œ ‰
Ó Œ ‰ jœ‰ Jœ Œ Ó
∑∑
S p
S
p
SS
Jœœ ‰ Jœœ ‰ Jœœn ‰ Jœœn ‰ &
Jœœ# ‰ Jœ ‰jœn ‰ jœ ‰
Œ ‰ jœn ‰ jœb ‰ jœn
jœ‰ Œ Ó
∑∑
Œ ‰ Jœn ‰ Jœb ‰jœn
∑
p
S S S
S S S
‰ œœn jœœ œœ œœlegatissimo
‰ œ œb œ œ œ
‰ œ œ œ œ œnlegatissimo
jœ‰ Œ Ó
∑∑
‰ Jœ Œ Ó‰ jœ Œ Ó
S
Sp
S
SPLS27515
hard
2
-
&
?
?
?
ãã
bbbb
bbbb
bbbb
bbbb
46
46
46
46
4646
c
c
c
c
cc
Bon.
B.D.
1
2
I
II
17
Ó . œ œ jœ œ œ œcon molto sentimento
poco rubato
∑
Jœ ‰ Œ ∑colla parte
Œ ‰ jœ jœ œ- œ œÓ
staccato
∑ colla parte∑
p
ππ ∏
.œ jœ ˙A tempo
˙ ˙
Œ Jœ ‰
œn
‰ œb> ‰ jœstaccato
jœ‰ Œ ‰ Œ
Œ œ ‰ ‰ œ> ŒJœ ‰ Œ Ó
p
pp
jœ jœn jœ3
œ œ œb5
œ œ œ œ œ˙ ˙b
Œ œn
œb
‰ jœn ‰ Œ
jœ‰ ‰ Œ j
œb‰
∑∑
&
?
?
?
ãã
bbbb
bbbb
bbbb
bbbb
Bon.
B.D.
1
2
I
II
◊ ◊ ◊
20
jœn .œ jœb ˙˙ ˙b
Œ Jœb ‰ ‰ ‰ jœb
jœn ‰ Œ œ
œn>
‰ Œ
Œ œ ‰ ‰ œ> ŒJœ ‰ Œ Ó
‰ jœ# jœ3
œ œ œn œ œ5
œ jœn œ
˙5
.œn œ
Œ ‰ jœb ‰ Œ
jœb ‰
œb
‰œnŒ j
œ‰
∑∑
jœ jœ œ œn œ œ jœn ˙˙ ˙
Œ Jœn ‰ ‰ ‰ Jœb
jœ‰ Œ œb
œn>
‰ Œ
Œ œ ‰ ‰ œ> ŒJœ ‰ Œ Ó
PLS27515
3
-
&
?
?
?
ãã
bbbb
bbbb
bbbb
bbbb
46
46
46
46
4646
c
c
c
c
cc
W.TT.
Guiro
1
2
I
II
◊
23
Œ œ œ œlegatissimo
Œ œ œ œn
∑
jœn ‰ Œ Ó
∑∑
Sœ œ œb
‰ Œ Œ œ- œ- Jœ- œ- œ- œ-
appassionato
Jœ ‰ Œ Œ œn- œb - Jœn
- œb - œ- œn -&
Œ ‰ JœjœN œ- œ œb Œ Œ
staccato
Œ ‰ jœ jœN œ- œ œbŒ Œ
subito
Œ ‰ Jœ> œ> œ> Œ Ó∑
π f
ƒ π
ƒ
.œ- jœn Jœ- -̇
.œb - jœn - ˙b -
Œ Jœœn# ‰ ‰
œœbn œœn n œœœbb .
sempre staccato
jœœn‰ Œ Jœn œ œ# ‰.
Jœ ‰ Œ ÓŒ œ ‰ ‰ œ> Œ
p S p
pp
&
&
?
?
ããã
bbbb
bbbb
bbbb
bbbb
W.TT.
W.B.
Guiro
1
2
I
II
26 5œ œ- œ- œ- jœn 7.œ- œb - œ- œN -
5œ œ- œb - œ-7
.œb - œ- œ∫ - œ-Œ œœn
œb
‰ œœbb
œn
‰
jœœ‰ ‰ Œ ‰
∑∑∑
.œ- jœn Jœ- ˙A -
.œ- jœb - ˙A -Œ JœœN ‰ ‰ œœn
œœn œœbb .
jœœ‰ Œ jœn œb œn œb .
Jœ ‰ Œ Ó∑
Œ œ ‰ ‰ œ> Œ
S p
jœn ‰ ‰ œœâ œœn œœ ‰stacc.
œ œ œb œâ œ- œ ‰
Œ ‰œœâ œœb œœ ‰
jœœnn‰ ‰ œâ œn œ ‰
∑Œ ‰ jœ> ÓÓ ‰ Jœ Œ
S p
S p
pS
jœb ‰ ‰ œœâ œœN œœ ‰
œn œ œ œbâ œ- œ‰
jœ ‰ ‰œœbâ œœ œœn ‰
jœ‰ ‰ œbâ œn œb ‰
∑Œ ‰ jœ> ÓÓ ‰ Jœ Œ
S p
S p
S
PLS27515
4
-
www.preludiomusic.comPLS27515