Chique - Ricardo Brignolo - Tango - Tango Dancers

SYOTangoOz directed by Maggie Ferguson -- www.maggiefergusontango.com with dancers Amy Teuchert and Jairo Sanchez Rivera www.tangueros.com.au/about-us
Bandoneonist, composer and lyricist (7 March 1892 -- 27 March 1954) Ricardo Luis Bignolo, nickname: La Nena (The Girl), sobriquet: Ricardo Corazón de León (Richard the Lionheart)
Around fifty tangos belong to Brignolo, from which -according to Oscar Zucchi- only twenty-three were committed to record and finally, only three lasted through time: "Chiqué" and "Por seguidora y por fiel", as composer, and "Íntimas", as lyricist.
The melodic richness of "Chiqué" prevailed over the lyrics and, with the only exception of Ignacio Corsini in 1928, the recorded renditions were all instrumentals.
The word of its title was used later in other tangos and by other poets. Enrique Cadícamo, in "Che papusa oí"; Manuel Romero, in "Pobre milonga"; César Lenzi, in "Noches de Montmartre"; Juan Fernández, in "No me hagas chiqué", so being included into our lunfardo words.
According to researchers, chiqué belongs to the jargon of French pimps and has many meanings: to pretend to be a fool or to lie, feign, to boast, to be flamboyant, luxurious or to show off oneself as an elegant person.
Excerpt from www.todotango.com/english/creadores/rbrignolo.asp
Recorded live at the "5 Years of Tango" concert, 29 November 2013 - Verbrugghen Hall, Conservatorium of Music, Sydney.
Video and sound recording produced by Jason Julian www.jasonjulian.com
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[@carloorganai6676]

Ballerini eccezionalmente bravi. Elegantissimi. Un secondo bandoneon mi sarebbe piaciuto.

[@TangoMusicAustralia]

Grazie mille

[@willyspanish]

THE BANDONEÓN
In contrast to the accordion, the bandoneón has no pre defined chords. It has no piano-like keyboard, It’s a complex layout of buttons which varies from instrument to instrument. An average is thirty seven buttons on the right hand and thirty three on the left hand. It is played resting the instrument on both knees while sitting, opening (abriendo) and closing (cerrando) while depressing one or more buttons with each hand. Most buttons make a different tone opening and closing, although there is no pattern to the layout.
The bandoneóns has been incorrectly termed ‘diatonic’ (involving only notes proper to the prevailing key), without chromatic alteration. They are in fact achromatic in contrast to the so called ‘chromatic ‘instrument, created in 1925 by Charles Peguri in Paris.
The bandoneón has two different layouts for the right keyboard (opening and closing) and two different layouts for the left keyboard, again for opening and closing. Therefore one has to learn four different patterns to play it.
In addition, there are different tones on the button layout of the Argentine tuned instrument versus the German tuned version. There are no scalar sequences, although some adjacent buttons form triads when opening and some when closing.
Given these facts, the bandoneóns is regarded by tango musicians as devilishly difficult to play, with a chaotic layout devoid of logic. It is however impossible to conceive of the tango without it.
Alejandro Marcelo Drago - Dissertation submitted as partial requirement for Doctor of Musical Arts, University of Southern Mississippi, May 2005.
(Source: www.maggiefergusontango.com/bandoneon-undressed/) 😉