Kraayenhof Carel, Dutch bandoneon player who shot to worldwide fame when Adios Nonino played at the wedding of Prince Willem-Alexander to Maxima Zorreguieta, has actually a long and remarkable career in the world of tango. His house in a small town near Amsterdam is a museum dedicated to the genre, with an amazing collection of books, music and photos.
In 1987, inspired by the sound of his beloved Osvaldo Pugliese founded the Sexteto Canyengue. Pugliese and Astor Piazzolla were, from the Initially, his main references. Of the two managed to get recognition, to Pugliese played in Amsterdam, Piazzolla heard him play and I chose to mount the musical in New York Tango enthusiast. Carel
is also the composer, and has dedicated a piece (Red Carnation) Pugliese, part of the repertoire of the orchestra Color Tango. Many notable musicians of our country as Libertella, Marcucci, Mossalini admire and are united to him by ties of friendship.
In 1993, his passion for tango and its spread in Europe, led to Carel Kraayenhof to open the Department of Tango at the Conservatory of Rotterdam, where he currently leads with Leo Vervelde Tango Orchestra Rotterdam (OTHER).
decided that with the popularity of "the bandoneon player Max" to do something useful: in the Netherlands organized a concert to benefit the School of Popular Music of Avellaneda, an institution that has already received the proceeds in a ceremony held at the Dutch Embassy in Buenos Aires.
in Europe also has organized activities to benefit human rights organizations. Interview with Carel Kraayenhof
The man has a letter marketers, and so the record company announces, is "the Dutch bandoneon player Adios Nonino played at the wedding of Maxima Zorreguieta."
No wonder: after that bit of luck, Carel Kraayenhof became known worldwide, sold hundreds of thousands of copies of his album
Tango Royal, and another of which he named, of course, Tango Max.
And all from a country that had not previously come tango fever. Kraayenhof
But apparently you have other cards with proof of tango: with his Sextet Canyengue is dedicated to cultivate the style of Osvaldo Pugliese, who in life was to share various shows and meetings.
When Piazzolla heard him play and invited him to participate in the show Tango enthusiast, who rode on Broadway.
With these two sponsorships in tow, he founded the Department of Tango Rotterdam Conservatory, where he currently directs the Orchestra with Leo Vervelde Tanguera of Rotterdam.
At home in Noord Beemster, a small town near Amsterdam, Kraayenhof have assembled a sort of museum dedicated to the genre, where hoards books, music, photos and special objects, like a scarf given to him by Pugliese.
The musician speaks fluent English and has built enough slang to say goodbye to the telephone conversation with "a great pleasure."
"She played the piano since age 8, and later the greengrocer. But I never had the possibility of a great instrument with bellows.
Argentine One day a friend told me: 'You have to play music' and I brought one of Buenos Aires, "says Dutch.
"I knew the sound of a disc of Juan José Mosalini and was totally fascinated. But I thought, at 26, was too late to learn this complex system. "
" I presented as "the wedding bandoneonist Max." Is that good or bad for your career?
"In general, it is good. Not only because I became very famous in my country: the most important thing is that I could spread the tango and the bandoneon.
That day, two million Dutch girl wept with that Argentina is thrilled with the tango. And that's a lot, because my compatriots do not cry so easily.
- How contacted?
simple: find out and I was the only Dutch bandoneon player which had references. With them was a good relationship, from time to time we talked on the phone, they're very nice person. Maximum
is being devoted to research on small business loans for development, and now goes to Brazil and Argentina for that matter. I like it.
- What happened in Holland after Adiós Nonino wedding?
"In my country nobody knew what an accordion up before the wedding. After hearing, on the tram, the train, everywhere, people stopped me, hugged me, told me "I also cried," I asked about the tango and the bandoneon.
The prettiest was a journalist, very Dutch him, calculated that with all the tears that were shed that day the Dutch could fill the stadium of Ajax. It really was a shock.
- How did you know Pugliese? "When he came to Amsterdam in '85, I played as an opening act with his quartet Tango 4, when we had just begun.
For '89 we had formed the Sexteto Canyengue, with which we dedicated ourselves completely to the style Pugliese, and there he composed a theme, red carnation, which currently part of the repertoire of Color Tango. Lydia and Don Osvaldo
invited us to Buenos Aires and introduced ourselves to them, since there was a great friendship, was recently in a tribute to Lydia Pugliese.
- What was it that fascinated the Pugliese? "It was almost like a much loved and respected grandfather, a man of integrity who devoted his life to music popular with impressive modesty. He was a genius in the musical sense, someone highly qualified in other genres such as classic. As a musician, greatly enriched the tango in its structure, its way of fixing and folk rhythms to tango.
always excited me the strength of his orchestra, with bandoneon that almost touch the drum. And asked not to call him master, "I am nothing more than a machine screw in the tango," he said.
"Sounds strange to say this a Dutchman.
"Maybe because from a distance you can see and admire in more depth. Here we made a very deep study of Pugliese as man and musician, spent much time with him and Lydia on my visits to Buenos Aires and in his visits to Holland, and also with Roberto Alvarez, Color Tango, who was my teacher.
- What Piazzolla?
"I was lucky that I convened for the passionate Tango musical tour, and each time was like an injection of tango. I learned only from observing
: Piazzolla was very uneasy, almost like a boy of seven years, with much energy, was always in search of other forms, all the time he was composing, but also acting and touring.
I saw him writing in hotels, obsessively, and he left me a little desire to do the same: to devote to the composition and the tango, obsessively.
My addition: Red Carnation
What does it mean?
Each time, in the past, which put him Pugliese imprisoned for their political beliefs replaced it almost always Armando Cupo. And on the piano placed a red carnation.
"When prisoner falling, did the orchestrations in Devoto, I took them and then rehearsed with the orchestra.
pianist at that time it was replaced Armando Cupo "(Enrique Alessio, bandoneon player, composer, conductor)
" debuted the year we used to put a red carnation on top of piano. It was the time when Pugliese was in prison.
The first years in the orchestra were very hard (...)
In '57 almost did not touch the piano. The presentations had a replacement "(Ismael Spitalnik, bandoneon).
Kraayenhof Tango Royal
Carel (1958) Red Carnation
Astor Piazzolla (1921-1992) Milonga del angel - Balada para
crazy Kraayenhof Carel (1958) High - Milonga para Thirza
Astor Piazzolla (1921-1992) 'Aconcague' Concerto for bandoneon, string instruments and percussionAllegro marcatoModeratoPrestoOblivion Maypa
Roberto Alvarez Astor Piazzolla (1921-1992) Adios Nonino
Kamerkoor Nederlands Carel
Kraayenhof, bandoneon;
Vesko Eschkenazy, violin;
Heleen Koele, soprano;
Canyengue
Sextet -
Concertgebouw Chamber Orchestra Ed Spanjaard, conductor
The Dutch bandoneon player Carel Kraayenhof and his album 'Memories of Cuba "July 11, 2008
The Dutch bandoneon player Carel Kraayenhof has a notorious history in the tango. At home has a large collection of books, music and photos related to your passion for music. In 1987, inspired by the sound of Osvaldo Pugliese, Sexteto Canyengue founded. Pugliese and Astor Piazzolla
were, from the outset with great references. Of the two managed to get recognition, to Pugliese played in Amsterdam Piazzolla heard him play and I chose to mount the musical in New York Tango enthusiast.
In 1993, his passion for tango and its spread in Europe, led to Carel Kraayenhof to open the Department of Tango at the Conservatory of Rotterdam. Europe has organized activities to benefit human rights organizations.
José Zepeda, director English Department of Radio Nederland Kraayenhof Karel interview on the occasion of the presentation of his new CD Memories of Cuba
Kraayenhof Carel is a Dutch musician recognized in the "world of tango." Perhaps many will remember him for being the bandoneon player who played with such emotion Adios Nonino at the wedding of Princess Maxima. For over 20 years has traveled many countries and shared the stage with legends such as Astor Piazzolla and Osvaldo Pugliese.
also promoted the establishment of a department of tango at the Conservatory of Music in Rotterdam.
Heroes In Tango presents an album with his own compositions. Was recorded on June 12, 2006, in room Leine Komedie Amsterdam (Netherlands).
Here is a documentary made by the Deutsche Welle (Voice of Germany) by Enrique López Magallón, expressing interesting ideas about the tango and reminds Don Osvaldo Pugliese and Astor Piazzolla.
How did your love for this instrument, the bandoneon and the tango?
Actually I started with piano at age eight. One of my brothers was involved in a band playing Irish and Scottish music and suggested that I buy a "greengrocer", as they say in Argentina, ie, diatonic accordion. I started studying these instruments of self-taught. In 1982, a friend of mine showed me a disc called a bandoneon player Juan José Mosalini, based in Paris. It played bandoneon solos. It moved me so much that from that moment I began to look a bandoneon, but there was in the Netherlands. One day I was playing the accordion in a park in Amsterdam, a boy approached and asked if Argentina also played the accordion. I told him it was my dream and I vowed to find a tool for me in his next trip to Argentina. He returned with a fantastic instrument, a double A: Alfred Arnold, that is, the better. So I started drawing arrangements Pugliese and Piazzolla, with the discs. What
was what most impressed him that Mosalini disk, virtuosity and emotion of the music?
I was very excited by sound. The left hand on bandoneon sound very dense, very sad. The right hand, however, has a much brighter expression. In combination seems you hear a small orchestra. I also was impressed that each hand can play independent melodies. How do you define
tango?
The definition most beautiful and deepest ever heard is that of the poet and historian of Buenos Aires, Horacio Ferrer. He says the tango is the first smile on your face after you have crossed a sea \u200b\u200bof \u200b\u200btears. The tango is like the Latin American blues, but not only nostalgia but also joy.
In places as far from Argentina and Finland there are clubs where people gather to dance tango. You are Dutch. What do you attribute the fact that the tango is so well received in cultures that seemingly have nothing to do with Latin America, or specifically in Argentina? Argentina
The music has influences from many European cultures. Buenos Aires is a city of many immigrants. So we hear the tango music features classical music but also folk. In the strings you hear the influence of Russia and Hungary. The Italians and the English also had a huge influence. All instruments are played in the Argentine tango are of European origin, to the bandoneon, which is German. So the tango is the perfect combination between Europe and Latin America.
You've decided to make their own compositions and tango. How did this decision?
in 1990 shared the stage with Osvaldo Pugliese, who invited my group, the Sexteto Canyengue, the Netherlands, to Buenos Aires. Then tango founded a department at the Conservatory of Rotterdam, where Pugliese served as artistic director. He always told his players: "Boys, you have to foul papers." Is say, you had to write notes, new compositions, new arrangements. I feel so grateful to the Argentines, who as a musician I feel compelled to work hard at writing music. So now, after playing tango for twenty years, I decided to write some tributes to Pugliese, Osvaldo Ruggiero, Roberto Alvarez, Juan José Mosalini and several other teachers. Piazzola
faced in his time to criticism of "fundamentalists", who accused him do a tango adulterated. What do you think of the evolution of tango? Astor Piazzola
not kill the tango. In fact, he was El Salvador's tango. This genre is always in a process of evolution. The steps taken were necessary to Piazzola tango. Pugliese also made in the forties was a revolution as great as that which occurred after Piazzola. No music can get stuck. If it does not evolve, you can not go to the next generations.
In 1987, inspired by the sound of his beloved Osvaldo Pugliese founded the Sexteto Canyengue. Pugliese and Astor Piazzolla were, from the Initially, his main references. Of the two managed to get recognition, to Pugliese played in Amsterdam, Piazzolla heard him play and I chose to mount the musical in New York Tango enthusiast. Carel
is also the composer, and has dedicated a piece (Red Carnation) Pugliese, part of the repertoire of the orchestra Color Tango. Many notable musicians of our country as Libertella, Marcucci, Mossalini admire and are united to him by ties of friendship.
In 1993, his passion for tango and its spread in Europe, led to Carel Kraayenhof to open the Department of Tango at the Conservatory of Rotterdam, where he currently leads with Leo Vervelde Tango Orchestra Rotterdam (OTHER).
decided that with the popularity of "the bandoneon player Max" to do something useful: in the Netherlands organized a concert to benefit the School of Popular Music of Avellaneda, an institution that has already received the proceeds in a ceremony held at the Dutch Embassy in Buenos Aires.
in Europe also has organized activities to benefit human rights organizations. Interview with Carel Kraayenhof
The man has a letter marketers, and so the record company announces, is "the Dutch bandoneon player Adios Nonino played at the wedding of Maxima Zorreguieta."
No wonder: after that bit of luck, Carel Kraayenhof became known worldwide, sold hundreds of thousands of copies of his album
Tango Royal, and another of which he named, of course, Tango Max.
And all from a country that had not previously come tango fever. Kraayenhof
But apparently you have other cards with proof of tango: with his Sextet Canyengue is dedicated to cultivate the style of Osvaldo Pugliese, who in life was to share various shows and meetings.
When Piazzolla heard him play and invited him to participate in the show Tango enthusiast, who rode on Broadway.
With these two sponsorships in tow, he founded the Department of Tango Rotterdam Conservatory, where he currently directs the Orchestra with Leo Vervelde Tanguera of Rotterdam.
At home in Noord Beemster, a small town near Amsterdam, Kraayenhof have assembled a sort of museum dedicated to the genre, where hoards books, music, photos and special objects, like a scarf given to him by Pugliese.
The musician speaks fluent English and has built enough slang to say goodbye to the telephone conversation with "a great pleasure."
"She played the piano since age 8, and later the greengrocer. But I never had the possibility of a great instrument with bellows.
Argentine One day a friend told me: 'You have to play music' and I brought one of Buenos Aires, "says Dutch.
"I knew the sound of a disc of Juan José Mosalini and was totally fascinated. But I thought, at 26, was too late to learn this complex system. "
" I presented as "the wedding bandoneonist Max." Is that good or bad for your career?
"In general, it is good. Not only because I became very famous in my country: the most important thing is that I could spread the tango and the bandoneon.
That day, two million Dutch girl wept with that Argentina is thrilled with the tango. And that's a lot, because my compatriots do not cry so easily.
- How contacted?
simple: find out and I was the only Dutch bandoneon player which had references. With them was a good relationship, from time to time we talked on the phone, they're very nice person. Maximum
is being devoted to research on small business loans for development, and now goes to Brazil and Argentina for that matter. I like it.
- What happened in Holland after Adiós Nonino wedding?
"In my country nobody knew what an accordion up before the wedding. After hearing, on the tram, the train, everywhere, people stopped me, hugged me, told me "I also cried," I asked about the tango and the bandoneon.
The prettiest was a journalist, very Dutch him, calculated that with all the tears that were shed that day the Dutch could fill the stadium of Ajax. It really was a shock.
- How did you know Pugliese? "When he came to Amsterdam in '85, I played as an opening act with his quartet Tango 4, when we had just begun.
For '89 we had formed the Sexteto Canyengue, with which we dedicated ourselves completely to the style Pugliese, and there he composed a theme, red carnation, which currently part of the repertoire of Color Tango. Lydia and Don Osvaldo
invited us to Buenos Aires and introduced ourselves to them, since there was a great friendship, was recently in a tribute to Lydia Pugliese.
- What was it that fascinated the Pugliese? "It was almost like a much loved and respected grandfather, a man of integrity who devoted his life to music popular with impressive modesty. He was a genius in the musical sense, someone highly qualified in other genres such as classic. As a musician, greatly enriched the tango in its structure, its way of fixing and folk rhythms to tango.
always excited me the strength of his orchestra, with bandoneon that almost touch the drum. And asked not to call him master, "I am nothing more than a machine screw in the tango," he said.
"Sounds strange to say this a Dutchman.
"Maybe because from a distance you can see and admire in more depth. Here we made a very deep study of Pugliese as man and musician, spent much time with him and Lydia on my visits to Buenos Aires and in his visits to Holland, and also with Roberto Alvarez, Color Tango, who was my teacher.
- What Piazzolla?
"I was lucky that I convened for the passionate Tango musical tour, and each time was like an injection of tango. I learned only from observing : Piazzolla was very uneasy, almost like a boy of seven years, with much energy, was always in search of other forms, all the time he was composing, but also acting and touring.
I saw him writing in hotels, obsessively, and he left me a little desire to do the same: to devote to the composition and the tango, obsessively.
My addition: Red Carnation
What does it mean?
Each time, in the past, which put him Pugliese imprisoned for their political beliefs replaced it almost always Armando Cupo. And on the piano placed a red carnation.
"When prisoner falling, did the orchestrations in Devoto, I took them and then rehearsed with the orchestra.
pianist at that time it was replaced Armando Cupo "(Enrique Alessio, bandoneon player, composer, conductor)
" debuted the year we used to put a red carnation on top of piano. It was the time when Pugliese was in prison.
The first years in the orchestra were very hard (...)
In '57 almost did not touch the piano. The presentations had a replacement "(Ismael Spitalnik, bandoneon).
Kraayenhof Tango Royal
Carel (1958) Red Carnation
Astor Piazzolla (1921-1992) Milonga del angel - Balada para
crazy Kraayenhof Carel (1958) High - Milonga para Thirza
Astor Piazzolla (1921-1992) 'Aconcague' Concerto for bandoneon, string instruments and percussionAllegro marcatoModeratoPrestoOblivion Maypa
Roberto Alvarez Astor Piazzolla (1921-1992) Adios Nonino
Kamerkoor Nederlands Carel
Kraayenhof, bandoneon;
Vesko Eschkenazy, violin;
Heleen Koele, soprano;
Canyengue
Sextet -
Concertgebouw Chamber Orchestra Ed Spanjaard, conductor
The Dutch bandoneon player Carel Kraayenhof and his album 'Memories of Cuba "July 11, 2008
The Dutch bandoneon player Carel Kraayenhof has a notorious history in the tango. At home has a large collection of books, music and photos related to your passion for music. In 1987, inspired by the sound of Osvaldo Pugliese, Sexteto Canyengue founded. Pugliese and Astor Piazzolla
were, from the outset with great references. Of the two managed to get recognition, to Pugliese played in Amsterdam Piazzolla heard him play and I chose to mount the musical in New York Tango enthusiast.
In 1993, his passion for tango and its spread in Europe, led to Carel Kraayenhof to open the Department of Tango at the Conservatory of Rotterdam. Europe has organized activities to benefit human rights organizations.
José Zepeda, director English Department of Radio Nederland Kraayenhof Karel interview on the occasion of the presentation of his new CD Memories of Cuba
Kraayenhof Carel is a Dutch musician recognized in the "world of tango." Perhaps many will remember him for being the bandoneon player who played with such emotion Adios Nonino at the wedding of Princess Maxima. For over 20 years has traveled many countries and shared the stage with legends such as Astor Piazzolla and Osvaldo Pugliese.
also promoted the establishment of a department of tango at the Conservatory of Music in Rotterdam.
Heroes In Tango presents an album with his own compositions. Was recorded on June 12, 2006, in room Leine Komedie Amsterdam (Netherlands).
Here is a documentary made by the Deutsche Welle (Voice of Germany) by Enrique López Magallón, expressing interesting ideas about the tango and reminds Don Osvaldo Pugliese and Astor Piazzolla.
How did your love for this instrument, the bandoneon and the tango?
Actually I started with piano at age eight. One of my brothers was involved in a band playing Irish and Scottish music and suggested that I buy a "greengrocer", as they say in Argentina, ie, diatonic accordion. I started studying these instruments of self-taught. In 1982, a friend of mine showed me a disc called a bandoneon player Juan José Mosalini, based in Paris. It played bandoneon solos. It moved me so much that from that moment I began to look a bandoneon, but there was in the Netherlands. One day I was playing the accordion in a park in Amsterdam, a boy approached and asked if Argentina also played the accordion. I told him it was my dream and I vowed to find a tool for me in his next trip to Argentina. He returned with a fantastic instrument, a double A: Alfred Arnold, that is, the better. So I started drawing arrangements Pugliese and Piazzolla, with the discs. What
was what most impressed him that Mosalini disk, virtuosity and emotion of the music?
I was very excited by sound. The left hand on bandoneon sound very dense, very sad. The right hand, however, has a much brighter expression. In combination seems you hear a small orchestra. I also was impressed that each hand can play independent melodies. How do you define
tango?
The definition most beautiful and deepest ever heard is that of the poet and historian of Buenos Aires, Horacio Ferrer. He says the tango is the first smile on your face after you have crossed a sea \u200b\u200bof \u200b\u200btears. The tango is like the Latin American blues, but not only nostalgia but also joy.
In places as far from Argentina and Finland there are clubs where people gather to dance tango. You are Dutch. What do you attribute the fact that the tango is so well received in cultures that seemingly have nothing to do with Latin America, or specifically in Argentina? Argentina
The music has influences from many European cultures. Buenos Aires is a city of many immigrants. So we hear the tango music features classical music but also folk. In the strings you hear the influence of Russia and Hungary. The Italians and the English also had a huge influence. All instruments are played in the Argentine tango are of European origin, to the bandoneon, which is German. So the tango is the perfect combination between Europe and Latin America.
You've decided to make their own compositions and tango. How did this decision?
in 1990 shared the stage with Osvaldo Pugliese, who invited my group, the Sexteto Canyengue, the Netherlands, to Buenos Aires. Then tango founded a department at the Conservatory of Rotterdam, where Pugliese served as artistic director. He always told his players: "Boys, you have to foul papers." Is say, you had to write notes, new compositions, new arrangements. I feel so grateful to the Argentines, who as a musician I feel compelled to work hard at writing music. So now, after playing tango for twenty years, I decided to write some tributes to Pugliese, Osvaldo Ruggiero, Roberto Alvarez, Juan José Mosalini and several other teachers. Piazzola
faced in his time to criticism of "fundamentalists", who accused him do a tango adulterated. What do you think of the evolution of tango? Astor Piazzola
not kill the tango. In fact, he was El Salvador's tango. This genre is always in a process of evolution. The steps taken were necessary to Piazzola tango. Pugliese also made in the forties was a revolution as great as that which occurred after Piazzola. No music can get stuck. If it does not evolve, you can not go to the next generations.
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