Pablo Estigarribia was born in 1985 in El Chaco, Resistencia, Argentina and started studying piano at the National Conservatory of Music in Buenos Aires when he was only 8 years old.
At age 17, he won a national competition for chamber music, "sub 18" and at age 22, he won the piano competition that was part of the Shell Biennial Youth Music Festival in Buenos Aires. In 2004, Estigarribia won a prestigious scholarship to the International Festival of Winter Camps of Jordão, Brazil, where he studied with international soloists and conductors Kurt Masur and Glenn Dicterow.
The tango entered his life in 2005, when he won a grant from the Orchestra School of Tango (last group with Emilio Balcarce as director), with whom he toured Italy. In 2008, he toured Mexico with the Lisandro Adrover Quintet and in 2010 he visited a good portion of the theaters of Japan with the orchestra of Victor Lavallén, performing almost 50 concerts including at the famous Nakano Sun Plaza of Tokyo. Since then, with various companies, he has toured Europe and Russia, giving more than 90 concerts, in theaters such as the Cologne Philharmonic, the Grand Opera of Frankfurt, the Savoy Theater of Helsinki, and the Folies Bergeres of Paris among many others.
In 2011, he became a regular member of the Tango Pasión company, with whom he toured for four and a half months. Also, same year, Estigarribia formed his own tango ensemble, Meridional Sextet and launched his first recording, Chapado a la antigua. In 2014, he performed with the Juan Dios Filiberto Tango Orchestra, premiering his own symphonic arrangements and his work Rapsodia sobre un tema de Piazzolla for piano and orchestra.
n 2015, Estigarribia won the prestigious Gardel Prize for the best recording of tango by a new artist for his recent release, Tangos para piano (EPSA).
He is currently a member of Trio Lavallen - Cabaros - Estigarribia and Victor Lavallén's tango orchestra (Municipal Orquesta de Tango de Lomas de Zamora), a member of the prestigious Teatro Porteño, a member of his own ensemble, Meridional Sextet, and a member of the La Seleccion Nacional de Tango, an ensemble with which he performed in the United States, Brazil, Cuba, and Belgium. This season, Estigarribia will be performing solo and orchestral pieces including his own composition with the Pan American Symphony Orchestra. He is a frequent guest artist faculty at prestigious stowe tango music festival, Vermont where he gives master classes, workshops and lectures to students and professional tango musicians from around the world.
He is considered among the best tango musicians of his generation.
VICTOR LAVALLEN Y SU ORQUESTA
Victor Lavallén: Bandoneon Y Direccion
Alejandro Bruschini: Bandoneon
Pablo Estigarribia: Piano
German Martinez: Teclados
Washington Williman: Violin
Leonardo Williman: Violin
Silvio Acosta: Contrabajo
Danzarin & Desde el Alma.
Solo performance in Nakano Sun Plaza, Tokyo, February 2016
Adios Nonino by Astor Piazzolla. Pablo Estigarribia & his orchestra, 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 & his orchestra - Live in Nakano Sun Plaza,Tokyo, Japan in February 2016
Cochabamba - by Pablo Estigarribia & his orchestra. Recording sessions for the album "Apologia del tango", 2015
Pablo Estigarribia NBC Interview on SF int'l Art Festival in English May 24, 2017
TV performance and interview
Salgan Medley - Pablo Estigarribia
Astor Piazzolla's "Lo que vendra" - Arranged by Pablo Estigarribia.
Prestigious Gardel Prize for the best recording of tango by a new artist for his recent release, Tangos para piano (EPSA).
Medal of honor by the Argentine Tango Society
Concert review by John Osburn, Critic, New York City.
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.
Listen live performance in your city
2017-2018 US tour
Sun, May 1. Pan American Symphony, D.C.
Sat, May 7. Argentina Embassy, D.C.
Mon, May 9. 9:30pm Joe's Pub at Public theater, NYC
Wed, May 11. Mezzrow Jazz Club, NYC
Sat, May 14. 6pm Guest Gathering, 7pm Concert Sam Mazza Foundation concert, Pacifica, CA
Sun, May 15, 7pm. Sunset music and art. San Francisco, CA.
May 16-18. Tango En Vie, Seattle
Fri, May 19. 8pm Piedmont piano company, Oakland, CA
Sun, May 21. 7:30pm Tangos de Concierto Lecture recital hosted by Music Teachers Association of California - SF. San Francisco, CA
Friday, June 2. 7:30pm Tangos for Piano Palo Alto First Baptist Church