Piazzolla 4 Seasons


The Cuatro Estaciones Porteñas, also known as the Estaciones Porteñas or The Four Seasons of Buenos Aires, are a set of four tango compositions written by Ástor Piazzolla, which were originally conceived and treated as different compositions rather than one suite, although Piazzolla performed them together from time to time. The pieces were scored for his quintet of violin (viola), piano, electric guitar, double bass and bandoneón. By giving the adjective porteño, referring to those born in Buenos Aires, the Argentine capital city, Piazzolla gives an impression of the four seasons in Buenos Aires.The order of performance Piazzolla gave to his 'Estaciones Porteñas' is: Otoño (Autumn), Invierno (Winter), Primavera (Spring), Verano (Summer). It was different from Vivaldi's order.


The Four Seasons of Buenos Aires, are a set of four tango compositions written by Astor Piazzolla, which were originally conceived and treated as different compositions rather than one suite, although Piazzolla performed them together from time to time. Piazzolla: Vivaldi – Four Seasons, Four Seasons of Buenos Aires (SASD, ISO) Composer: Antonio Vivaldi, Astor Piazzolla Performer: Lara St. John Orchestra: The Simon Bolivar Youth Orchestra of Venezuela Conductor: Eduardo Marturet Audio CD (19 July 2010).

The Seasons[edit]

Piazzolla Four Seasons Pdf

  1. Verano Porteño (Buenos Aires Summer)
    written in 1965,[1] originally as incidental music for the play 'Melenita de oro' by Alberto Rodríguez Muñoz.[2]
  2. Invierno Porteño (Buenos Aires Winter)
    written in 1969.
  3. Primavera Porteña (Buenos Aires Spring)
    written in 1970, contains counterpoint.
  4. Otoño Porteño (Buenos Aires Autumn)
    written in 1970.

In 1996-1998, the Russian composer Leonid Desyatnikov made a new arrangement of the above four pieces with a more obvious link between Vivaldi's 'Four Seasons' and Piazzolla's, by converting each of Piazzolla's movements into three-sections, and arranges the piece for solo violin and string orchestra. In each movement, Desyatnikov includes several quotations from original Vivaldi's work. Desyatnikov reflects the inversion of the seasons between the hemisphere in his placement of the Vivaldi quotations; for example, Verano Porteño has added elements of L'inverno (Winter) of Vivaldi.


  1. ^Astor Piazzolla. (2016). Retrieved from https://web.archive.org/web/20160627061615/https://nyphil.org/~/media/pdfs/program-notes/1516/Piazzolla-arr-Desyatnikov-Four-Seasons-of-Buenos-Aires.pdf
  2. ^Azzi, María Susanna, and Collier, Simon. Le Grand Tango: The Life and Music of Astor Piazzolla. (New York: Oxford University Press), 2000. see p. 90.


Retrieved from 'https://en.wikipedia.org/w/index.php?title=Estaciones_Porteñas&oldid=1013656316'

In 2014 the Royal Concertgebouw Orchestra gave a spectacular performance of two works entitled The Four Seasons - one by Antonio Vivaldi and the other by Astor Piazzolla. The strings of the orchestra were placed in the middle of the concert hall and played under their two concertmasters: Vesko Eschkenazy for the Vivaldi and Liviu Prunaru for the Piazzolla. Bully steam.

The Four Seasons (Le quattro stagioni) by Antonio Vivaldi is one of the most popular works in the international orchestral repertoire. Vivaldi was a highly prolific composer, writing immense quantities of church music, ninety-four operas and more than five hundred concertos; most of these were for violin and orchestra, but they also include works for such instruments as the bassoon and the mandolin.

Piazzolla Four Seasons Sheet Music Imslp


Vivaldi was a colourful figure, although not simply because of his red hair. He was an ordained priest and served in the Ospedale della Pietà in Venice; this was in principle an orphanage for young girls but in reality functioned more as a home for the illegitimate daughters of the local nobility. It was a rich institution; the ‘orphans’ were well provided for and Vivaldi composed a large amount of music for these talented young women. At the same time he was developing his own career as composer and solo violinist. He was highly successful in this: his operas and concertos were performed throughout Italy and far beyond its borders. They travelled as far as Amsterdam, where they were published, and where in 1738 Vivaldi himself conducted a concert on the occasion of the centenary of the Schouwburg that then stood on the Keizersgracht.

The Four Seasons - Le quattro stagioni - are four concerti for violin and string orchestra that are performed as a unity. The violin was Vivaldi’s great love and he was regarded as a master of the instrument, although some contemporaries found his playing to be too extreme: too dramatic, too expressive, too virtuoso. The Four Seasons themselves were considered to be daring works at the time, thanks to their rapidly changing character and almost rough sound. It is an early example of programme music, music that relates a narrative clearly and directly. Vivaldi wrote four sonnets in which he describes in detail what he is conveying in sound: birds sing and brooks babble in the spring; the burning heat of summer with storms that flatten the wheat fields; celebrations of the new wine and hunting tableaus in the autumn; cosiness around the hearth and slipping and sliding on the ice in the winter. Each sonnet becomes a concerto in three parts, these generally being fast – slow – fast. The first edition of the score published by Estienne Roger in Amsterdam in 1725 indicates exactly where the various lines of the sonnets are reflected in the music.

Piazzolla Four Seasons Program Notes

The Cuatro estaciones porteñas - the Four Seasons of Buenos Aires - by Astor Piazzolla are four nostalgic tangos in which Latin America and Europe meet and meld. The tango originated in the harbour cafes and brothels of Buenos Aires, a city with a highly diverse mix of cultures and traditions. The porteños, the quintessential inhabitants of the city, have left their mark on it, as have countless immigrants and travellers from every part of the globe.

The tango culture had become locked in tradition by the 1950s; Piazzolla, a bandoneon player and composer, revealed himself in the course of those years as the great and self-willed innovator who would breathe new life into the form. His early years in New York had also taught him to love other musical styles; Piazzolla flirted with jazz, composed tangos influenced by such modern classicists as Stravinsky and Bartók and experimented with new and different orchestrations. The tango orchestras of that time in Argentina did not think much of these new compositions: they were too complicated and, even more important, were impossible to dance to. In this at least, they were correct: tango music for Piazzolla was far too beautiful to be limited to shadowy dance halls – in his own words, “too savage to be kept in a cage”.

Piazzolla 4 Seasons

Many of his colleagues did not take this well: the old guard thought that the tango, Argentina’s pride and joy, should not be touched. For Piazzolla, however, it was a matter of necessity to experiment with it, to build bridges between styles, to change the expectations that people had of the form. He pursued lessons in composition with Nadia Boulanger in Paris, an important teacher who also numbered the American composers Aaron Copland and Quincy Jones amongst her pupils, after which his work developed into music that was timeless. This, however, was principally outside Argentina; it was only after his successes in Europe and in North America that his earlier critics became convinced of the contribution that he had made to Argentinian culture and to music in general.