• Tangos de Concierto

    Music book featuring 60 minutes of arranged Tango music for Piano solo,

    Written entirely in Classical music notation!

  • Maria Graña & Pablo Estigarribia

    Latest Release by Sony Music

    Premio Gardel 2018 Nominee

  • Biography

    Pablo Estigarribia is a world renown virtuoso Argentine tango pianist, arranger and composer that began his musical journey in Classical Music, witch had its culmination when he was awarded with the 1st Prize of the "Bienal Juvenil" National Competition (sponsored by Shell, in 2005). After a brief detour through jazz he discovered Tango in 2005, when he was awarded with the Orquesta Escuela de Tango scholarship for joining the ensemble under the directorship of Maestro Emilio Balcarce, with whom he had his first European tour. He continued the path as a Tango performer through Germany, France, Belgium, Japan, Russia, Finland, Canada, USA and Cuba, in over 1000 concerts, with elite Argentine tango orchestras as follows, Victor Lavallen Orchestra, Tango Pasión, Lisandro Adrover Quintet and as a solo artist.

     

    The attainment of the prestigious Gardel Prize in 2015 for the best tango recording by a new artist on his album, Tangos Para Piano (EPSA), with the highest rating by the local press, deemed Estigarribia the recognition of the Argentine Tango industry. He also was awarded with the Medal of Honor by the Argentine Tango Society for his educational interventions in Stowe Tango Music Festival (Vermont) in 2014 and 2015. Estigarribia’s ascendancy in career brought him to Japan in 2016 where he was fervently celebrated and highlighted in the Tokyo Shimbun newspaper. His success continued to the United States in 2017, he made appearances on NBC, Univision, Telemundo, and The Huffington Post.

     

    Privileged to have studied and performed for numerous years with legendary tango musicians such as Emilio Balcarce, Horacio Cabarcos, Maria Graña, and to have composed and arranged for a decade with former Osvaldo Pugliese arranger Victor Lavallén, Estigarribia proudly assumes the role of transmitting his knowledge and expertise to the new generation of students and tango music enthusiasts. He believes in respectfully showcasing the beauty of his lineage, and above all, reopening the passage of virtuoso tango music repertoire to musicians. With that in mind, Estigarribia published his original compositions and arrangements of traditional pieces -Tangos de Concierto- and teaches regularly in Tango Festivals all over the World.

     

    The morphing of a classically trained pianist with considerable jazz influence and the soul of Argentine Tango, is rare; and with it, the perfect blend of a distinctive sound to tango music is born. Just as one can taste the variant flavors and layers of a delectable dish, spectators will experience the exquisite fusion of classical textures, jazz harmonies and the foundational rhythm and structure of Argentine tango in Estigarribia’s powerful delivery of his unique, complex and virtuosic tango compositions and arrangements.

  • Discography

    Tangos para piano

    Premio Gardel Award winning album (EPSA/2014).

    Maria y Pablo

    Album by María Graña and Pablo Estigarribia (Sony Music/2018)

    Premio Gardel Nominee.

     

    Apología del Tango

    Pablo Estigarribia and his Orchestra (Independent production/2016)

    Copyright in Asia belongs to Latina inc.

    Feat. Leopoldo Federico, Victor Lavallén, Horacio Cabarcos and Lisandro Adrover.

     

    De Menor a Mayor

    Independent production (2015)

    Trío Lavallén/Estigarribia/Cabarcos

     

    Victor Lavallén: Bandoneon

    Pablo Estigarribia: Piano

    Horacio Cabarcos: Contrabajo

     

    Buenosaireando

    Victor Lavallén Quinteto, (Independent Production/2010)

     

    Victor Lavallén: Bandoneón and bandleader
    Alejandro Bruschini: Bandoneón
    Pablo Estigarribia: Piano
    Silvio Acosta: Contrabajo
    Washington Williman: Violin

    Atemporal

    Victor Lavallén and his orchestra (Independent Production/2014)

     

    Victor Lavallén: Bandoneón and bandleader

    Alejandro Bruschini: Bandoneón

    Pablo Estigarribia: Piano

    German Martinez: Keyboard

    Washington Williman: Violin

    Leonardo Williman: Violin

    Silvio Acosta: Contrabajo

    Chapado a la antigua

    Sexteto Meridional (Independent Production/2012)

     

    Pablo Estigarribia: Piano and bandleader

    Marco Antonio Fernandez: Bandoneón

    Nicolás Enrich: Bandoneón

    Cesar Rago: Violin

    Ramiro Miranda: Violin

    Nicolás Zacarías: Contrabajo

    Sonatas argentinas

    P. Pasmanter and P. Estigarribia (Independent Production/2018)

     

    Patricia Pasmanter: Cello

    Pablo Estigarribia: Piano

  • Videos

    Danzarin & Desde el Alma.

    Solo performance in Nakano Sun Plaza, Tokyo, February 2016

    Adios Nonino (A. Piazzolla) arranged by Pablo Estigarribia.

    Nakano Sun Plaza , Tokyo, February 2016.

    El choclo - Trio Lavallén/Estigarribia/Cabarcos -Footage of recording the first album of the trio. December 2014

    Victorioso (Pablo Estigarribia)

    Nakano Sun Plaza, Tokyo, February 2016.

    Cochabamba (Pablo Estigarribia)

    by Pablo Estigarribia & his orchestra. Recording sessions for the album "Apologia del tango", 2015

    Despierta, Univision TV.

    Morning talk show featuring Pablo Estigarribia and SF Int'l Art Festival 2017

    Pablo Estigarribia NBC Interview on SF int'l Art Festival in English May 24, 2017

     

    Crónica TV w/María Graña

    Interview with Gabriel Soria - FM 2x4, Buenos Aires, Argentina.

    Youtube Channel

  • Calendar

    Attend a live performance in your city!

    JUL 29, 2018 - 9:30 PM with Emiliano Messiez

    41-01 Broadway, Astoria, NYC

    Buy Tickets!

    AUG 26, 2018 - 11:30 AM and 1:30PM with Machiko Ozawa

    Blue Note New York, 131 West 3rd Street, NYC

    Buy Tickets!

    SEP 7, 2018 - 6:30 PM Solo Tango Recital

    Consulate General of Argentina, 12 W 56th St, New York, NY 10019

    Free Concert!

  • Press and Reviews

     

    Diario Clarín (Argentina), November 2014.

    Tokyo Shimbun, January 2016.

    Latina Magazine, Tokyo, 2015.

    Premio Gardel for Best Album by a New Tango Artist, Tangos para piano (EPSA/2014).
     

    Latina Magazine, Tokyo, 2015.

    Diario Clarín, María Graña junto a Pablo Estigarribia, Victor Lavallén y Horacio Cabarcos. Buenos Aires, 2017.

  • Artist review by Terence Clark, San Francisco

    Terence Clarke

    Co-founder and Director of Publishing, Astor & Lenox

    The Tango of Pablo Estigarribia

     

    Argentine tango continues being world famous. You can dance it in almost every major city on all seven continents. Yet generally, it is danced to music that is from decades ago…the 1960s and before. The music is always recognizable, over and over, played from old recordings by the famous bands and singers of the past. If you are a regular at milongas anywhere in the world, you will have danced to this music again and again.

    But contemporary tango music is anything but staid and predictable. Musical sophistication, inventive composition, and fine arrangements are the usual among the younger tango musicians now, especially those in Buenos Aires. If you’re looking for representative names, check out the music of María Volonté, Gustavo Santaolalla, Cristobal Repetto, Liliana Barrios, and Daniel Melingo, among many others.

    One of these is the truly remarkable pianist Pablo Estigarribia.

    A headliner at this month’s San Francisco International Arts Festival, Pablo was the 2015 recipient of the Gardel Prize for the best recording of tango by a new artist, for his release Tangos para piano. The Gardel Prize is the equivalent in Argentina to the U.S. Grammy, given by the Argentine music industry to its most deserving artists.

    Pablo is not a traditionalist in his appearance. He is thirty-two years old, and says of his fashion choices, “I like clothes. I like tattoos.” Such flamboyance is part of his music as well. He is a performer’s performer, making of his stage presence a pointed statement of the new. But Pablo is far more than what that may suggest. A singularly professional musician, he has many years of conservatory training in classical piano, is a noted fan and purveyor of jazz, and most important is a master of tango, with a deep knowledge of its history and its importance to Argentine culture.

    I recently interviewed him in San Francisco, and the conversation covered Pablo’s compendious knowledge and love of so many musical forms. “I began studying when I was five, with my mother, who is a cellist.” The boy loved the music, but his mother found him to be a tough student. “I never liked studying much. So my mother had to struggle with me,” he says, smiling, “to get my butt to the chair.” Finally, when Pablo was eight, his mother decided that a music conservatory would better provide him with the structure and discipline that he needed. He studied there for ten years, classical music exclusively.

    Pablo’s first gig as a professional musician was not quite what his parents expected. He learned some blues licks on an electric bass and, at the age of sixteen, joined a local band. “To me, it was the spirit of the blues that was appealing. The soul of it.”

    Pablo was also interested in jazz. He began frequenting all-night jam sessions at a place on Calle Manuela Pedraza in the Nuñez section of Buenos Aires. “I would sit as close as I could to the piano,” he says, “and try to learn as much as I could.” Finally, after many sessions as a spectator, he asked permission to sit in at the piano, and play a tune. He got through it, receiving praise from the audience and other musicians for his efforts. Pablo’s father realized his son’s interest in the music and, during a trip to the United States, found copies of Handbook of Chord Substitutions and Tons of Runs by the celebrated American jazz pianist Andy Laverne. Pablo studied these books carefully, and applied what he was learning from them to his own playing.

    At the same time, still a teenager, he wanted to find paying gigs at big international hotels in Buenos Aires, as a lounge pianist. “I would go there for an audition, and when the owner asked me to play, I would play jazz. They all said ‘That’s great, Pablo. But we need tango. Can you play tango?’ Well, I couldn’t.”

    Pablo explains his reaction at the time to that insistence on tango. “Hard feelings. I thought these lounge pianists were playing tango simply for the money, and not because they felt the music. They were just a bunch of poseurs, I thought.” But then, once more, his mother intervened. “My parents did a lot of things for me. And this time, my mother told me, ‘Pablo, look, you can play whatever they want for money, and with the money you earn, you can play whatever you want. So, go learn how to tango, and get it over with.’”

    Pablo set about to do that, and began studying with one particularly notable Buenos Aires tango musician, whose name he would not reveal for this interview. “Yes, I was trying to learn, doing arrangements, and so on. And he told me, ‘Pablo, you can play as many notes as you want per second, but you’ll never get tango. So you might as well pick some other genre.”

    The history of the arts is filled with distinguished invention by artists who were once told they couldn’t do it. In many respects, you can hope for such a verdict when you are young, no matter how much it hurts—and it does hurt. The irony for Pablo is that, some years later, that teacher, seeing Pablo perform tango, asked to play with him professionally. He did not realize that Pablo had once been his under-rated student.

    Now, Pablo Estigarribia has fashioned a distinguished career around the world as a tango musician, arranger and composer. He’s toured on several continents, as a solo performer, in small groups, and with orchestras, and has embarked on a fine recording career. Seeing him perform is a special moment. At his solo concert for the San Francisco International Arts Festival this month, he received a rousing, and long, standing ovation.

    Concert review by John Osburn, Critic, New York City.

    (Click here for the source link)

     

    The Argentine pianist Pablo Estigarribia balanced his concert last week, at Mezzrow in New York, on a tripod of genres. Trained, at first, in classical, he came, at age twenty or so, to tango, a course that he has followed for the past decade.

     

    He has studied and played with top tango figures and found in solo piano his own calling: Tangos para concierto, an effort to bring tango to the concert hall while retaining its essential character. Mezzrow is, however, neither a classical nor a tango space, but a jazz club.

    Estigarribia didn’t fight the ambiance, but let it frame his playing. He prefaced the tango “Flores negras” with the observation that its composer, Julio de Caro, had been one of the first to import elements of jazz into the genre. His banter, throughout the concert, inflected how the music was heard and thought about. He pointed out that jazz is improvisational and tango arranged; that classical scores are (generally) extant while tango’s are (in part) transmitted orally. His project Tangos para concierto addresses, in concerts, a book, and a CD (which won the Gardel Prize in 2015), the latter tension, with note-by-note versions of new and historical tangos for solo piano. That the setting at Mezzrow also put jazz at the back of our minds affected what we made of the sound, helping to define for the ear what makes tango, tango.

     

    Classical elicits, jazz surprises, tango insists. These are generalizations, but useful, especially if, as they did at Mezzrow, they help you listen. Estigarribia has a good deal of classical delicacy, but he knows that solicitousness must defer to insistence. Tango is a musical drama that commences with the compulsion of the downbeat. It has no problem resolving lightly, and often does – the musical opposite of the speech coach who says never to drop the voice at the end of a sentence, or the teacher who forbids ending essays with a question. The beat in tango, once established, is unthreatened. Estigarribia points out that the lack of a percussion section in tango puts certain effects on the piano and the double bass. The piano in tango needs, by its nature, to be a little shameless, solo all the more so.

     

    Estigarribia inclines, when he prefaces a number with commentary, to the personal touch. Juan Carlos Cobián, who composed “La casita de mis viejos”, and Carlos Di Sarli, composer of “Milonguero Viejo”, he calls by their nicknames, “The Aristocrat of Tango” and “The Gentleman of Tango”. (Bowtied and elegant, with the casual edge that makes for true dapperness, Estigarribia could use a nickname himself.) He introduces his own compositions with references to personal experiences. “Cochabamba”, a tango waltz (vals criollo) was named after a Buenos Aires milonga (tango club) that he admires for its community spirit and outreach to young people. “Primavera en Tokio” is a musical appreciation of Japan written after a concert tour there (it ends with a charming coda that, to the Western ear, evokes Japan instantly). To “Gringuita,” on the theme of an Argentine man who falls for a blond foreigner, he adds the disclaimer that any resemblance to actual persons is purely coincidental.

    Seeing Estigarribia would be a good introduction for one who doesn’t know tango while expanding the sense of it for those who do. In two sets he traverses the history of tango up to and beyond Piazzolla. Horacio Salgán, an essential stop on a piano tour of the genre, is represented, so are the sister genres of vals and milonga, and folkloric ones that are part of the landscape, zamba and malambo. This musically engrossing, personable, and intellectually canny show tours the U.S. through May 27.

     

    For more on Pablo Estigarribia, including tour dates and locations, click here. Visit Mezzrow for upcoming events at that venue.

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