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Musica: ''EL ESTILO PUGLIESE TENIA ALGO DE DRAMATICO''
Postato il Tuesday, 27 December @ 00:43:19 CET di vamos

Poesie - Storia - Letteratura Mercedes Liska y un libro sobre pugliese “El estilo de Pugliese tenía algo de dramático” Sembrando al viento es el libro de la etnomusicóloga y becaria del C. C. de la Cooperación Mercedes Liska. En él, profundiza en el estilo que caracterizó a Osvaldo Pugliese.
Por Diego Fischerman
En Español

La mayoría de la música está ausente de la mayor parte de los trabajos teóricos que la toman como objeto. Y en un país con un patrimonio cultural como Argentina, que incluye nombres como los de Juan Carlos Paz, Aníbal Troilo, el Cuchi Leguizamón, Luis Alberto Spinetta, Albero Ginastera o Astor Piazzolla, la costumbre de algunos musicólogos es hacer prolijos catálogos de piezas de salón y óperas menores con texto en italiano de autores olvidados. Por eso, además del hecho en sí mismo festejable de que se publique un libro de musicología, que ese libro dé cuenta de un tema tan real como el valor del estilo de Pugliese para las nuevas camadas de músicos de tango es doblemente auspicioso. “Venía investigando sobre los modos de transmisión generacionales en el tango y sobre el posicionamiento del músico como actor social, en contextos de crisis económica y social”, cuenta María Mercedes Liska, autora de Sembrando al viento. El libro, publicado por el Centro Cultural de la Cooperación Floreal Gorini, donde ella es becaria desde 2001, lleva por subtítulo El estilo de Osvaldo Pugliese y la construcción de subjetividad desde el interior del tango. Etnomusicóloga egresada del Conservatorio Superior de Música Manuel de Falla, donde también enseña, Liska viene investigando acerca del tango y, sobre todo, del tango actual. “Presenté, en un congreso sobre música popular que se realizó el año pasado en Río de Janeiro, una ponencia que se titulaba Músicos de tango, género y cultura de crisis. Y a partir de eso comencé a observar el fuerte lazo de identificación que había entre los nuevos músicos, integrantes muy jóvenes de orquestas que aparecieron en Buenos Aires en los últimos años, y la imagen de Pugliese; cómo él representaba exactamente eso que se quería expresar, no sólo lo musical sino una postura frente al hecho artístico”. Liska trabaja, en su libro, en la definición del estilo de Pugliese y, en particular, en la importancia del rubato. La palabra, que originalmente se refiere al “tiempo robado”, a la cualidad de acelerar y luego enlentecer el tempo –o lo contrario– es esencial en el tango hasta el punto de que podría articularse una historia del género a partir de cómo unos u otros músicos –Maffia, Francisco De Caro, Láurenz, Troilo, Piazzolla, Salgán y, claro, Pugliese– tocaban rubato. “El rubato en Pugliese es muy especial, porque suspende el tempo. Los bailarines, que nunca aceptaron de todo su orquesta, debían aprender a detenerse en esas detenciones. Era imposible bailarlas.” Pero, en tren de caracterizar ese “estilo Pugliese” que hoy, leído por los jóvenes del tango, aparece como mito fundante, Liska no duda: “Todos los entrevistados, los músicos y los bailarines, coinciden: el estilo de Pugliese es violento. Es un estilo donde el contraste entre tensiones y distensiones es dramático”. Desde hace años, Liska investiga la cuestión de la danza en el tango y la cuestión generacional en el género. “Una de las personas con las que trabajo es una mujer de 85 años, que va a bailar cuatro veces por semana y que es fanática de Pugliese y lo si-guió a todos lados. Ella me contó un montón de cosas acerca de cómo se lo escuchaba a Pugliese y que permiten inferir cuestiones relativas a esa posible relación de tirantez entre el baile y lo que podría caracterizarse como una escucha más abstracta. El tocar en bailes, por otra parte, tenía que ver con necesidades económicas y no necesariamente con que el músico prefiriera hacerlo. Pugliese fue siempre un ferviente militante político pero jamás involucró a su orquesta y pensaba, también, en cómo hacer para que esa orquesta tuviera trabajo.” Sembrando al viento explicita que el estilo de Pugliese se consolidó, sobre todo, en la música instrumental. “El tema de la escucha o el baile –aclara Liska– es más una discusión de otra generación y, efectivamente, algunos de los músicos que tocaron con Pugliese puntualizan que había temas con los que no se bailaba. Esos músicos establecen una especie de jerarquía, según la cual la música de escucha es superior a la que se baila. Pero para los músicos actuales no es así.”

 
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