Join us before the milonga with Orquesta Tipica La Juan D’Arienzo for a musicality workshop with Facundo Lázzari and La Juan D’Arienzo (all of them!). This event is primarily a talk, but it also includes live musical performance, so bring your shoes. Get to know the musicians and ask them your questions!
Monday, March 23rd
6:30-8:00 pm
Tickets $20 (Available on Eventbrite or with cash at the door.)
La Juan D’Arienzo debuted in 2012 and won the Premio Tango for Best Orchestra in 2018. It is made up of four bandoneons, three violins, a double bass, and a piano. The Orquesta plays music in the style of the later years of the original Juan D’Arienzo orchestra, with all of its energy and rhythm. The Orquesta’s first bandoneonist and artistic director, Facundo Lázzari, inherited the orchestra name from his grandfather, Carlos Lázzari, first bandoneonist and arranger of the original Juan D’Arienzo orchestra.
The workshop begins with a history of the original Juan D’Arienzo orchestra, including its founder, its development, and its influence on tango music. The second part of the workshop goes into detail about the musical techniques that give the Juan D’Arienzo its distinctive sound, including “marcato,” “the 4th string,” “variations,” and the role of soloists. The musicians demonstrate these techniques and explain how they differ from those of other historic tango orchestras. Finally, the musicians play pieces from their repertoire.
Listen here: https://www.lajuandarienzo.com/musica
The restaurant and bar at the Berkeley City Club are closed on Mondays.
The workshop takes place at the Berkeley City Club. The milonga takes place at the Pauley Ballroom at UC Berkeley, which is three blocks away. Milonga tickets are sold separately by the Argentine Tango Club of Berkeley. There is no non-member parking at the Berkeley City Club. It is a 10-minute walk from Downtown Berkeley BART.
The closest UC Berkeley parking garages are Lower Sproul Parking Garage and RSF Parking Garage, which offer parking at $2/hour until 2:00 am. Other nearby commercial parking lots are Trinity Parking Lot (2362 Bancroft Way), 2558 Bancroft Way, and 2315 Ellsworth Street Garage @ the Metropolitan.
Questions: milongafiatlux@gmail.com. Please do not attempt to buy workshop tickets with Paypal.
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The workshop concept is strong because musicality becomes easier to learn when dancers work with a specific orchestra and repeat recognizable rhythmic patterns. Focusing on D’Arienzo should make the relationship between pulse, phrasing, and movement especially clear. A short list of the recordings used in class would help participants prepare and continue practising afterward.
The workshop format makes the connection between rhythm and movement concrete, especially when one orchestra anchors the examples. A short list of the recordings used in class, plus a few timestamped moments to listen for, would help dancers prepare and continue practising after the event.
I found the discussion of Cancelled: Musicality Workshop with Facundo Lázzari and La Juan D’Arienzo, Monday, March 23rd, 2020 especially useful. The context around “Join us before the milonga with Orquesta Tipica La Juan D’Arienzo for a musicality workshop with Facundo Lázzari and La ” adds a practical detail that makes the article easier to apply and discuss.
The way this workshop uses one orchestra to connect pulse, phrasing, and movement makes the lesson easy to picture. A short sequence of visual cues for the rhythmic changes could help dancers revisit the exercises between sessions.
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The workshop outline pairs explanations of marcato and the role of soloists with demonstrations by the musicians themselves. That seems a useful way to connect musical choices with what a dancer hears. When sketching a separate original street-freestyle scene in Bulin 47 AI, I would also decide which performer and response from the crowd should carry the moment. A clear musical or visual idea gives a short performance something specific to communicate.
The specific instruments and the plan to demonstrate marcato and variations make this more informative than a standard event listing. For an archive illustration or a future poster concept, restyling a personal reference photo for a tango poster would be one creative step. I would keep the cancelled status and the original performer credits explicit, so the image is never read as a new booking announcement.
I was looking forward to the section on marcato and the fourth string, since those details are usually glossed over in musicality talks. Seeing the cancellation notice while the workshop description still lists the live demonstration and $20 door tickets is confusing. Will the session be rescheduled, or should ticket holders just wait for refund information?