Cuarteto Rotterdam

Refreshingly competent

by Jürgen Bieler

Upon listening to the music of Cuarteto Rotterdam, one immediately recognises the profound knowledge of tango music and the style in which it must be played. Cuarteto Rotterdam possesses experience, knowledge and a sound that others must work for years to acquire. And the ensemble does not even originate from Argentina - 'Cuarteto Rotterdam' is much more than simply the offspring of the tango academy in (obviously) Rotterdam. It is also an ensemble that enriches the tango in this country with an interesting timbre.

The story of the group actually began in the Dutch port. It was here that Michael Dolak (bandoneon) and Susanne Cordula Welsch (violin) became aware of the tango academy during their studies. The decision to establish their own tango ensemble came about in 2004. Since then, Judy Ruks has sat at the piano, whilst Frances Dorling and latterly Tino Scholz have been responsible for the deep tones issued from the contrabass. The group now lives and works in Berlin.
All members have a musical past that spans beyond the tango. At six years of age Cordula Welsch was given her first violin and received classically orientated training. She has been involved with the tango since the mid-90’s. Michael Dolak played the accordion for 17 years before deciding to learn to play the bandoneon and dedicate himself fully to the tango. Judy Ruks completed piano studies at the School of Arts in Arnhem. And Tino Scholz studied contrabass at various institutes and presently holds a respective teaching position at the HfM Dresden academy for music. He was formerly known as the bass player with the 'Sexteto Andorinha'.

Pugliese & Co. as a study subject

The fact that all interpret the tango with such excellence, this is due to their talent and the teaching system adopted by the Rotterdam academy. Its official name is the Academy For World Music and it is a member of the association of artistic academies in Rotterdam. The tango department was launched with the blessing of Osvaldo Pugliese and is today led by Gustavo Beytelmann. The programme includes individual lessons, working with the faculty orchestra 'OTRA' or the guitar group and course subjects such as transcription and arrangement. Course events on the history of the tango, on stylistics, improvisation and the instrumentality of this music complete the study programme. The lessons are taken by Argentinean artists including Coco Nelegatti, as well as prominent members of Dutch tango groups. After four years of study a BA degree beckons, and this can be upgraded to a Master’s degree if preferred with a further two years. However, the additional study period is spent at the Escuela de Tango in Buenos Aires. The course in Rotterdam is conceived as a development programme in order to avoid age restrictions.

Repertoire with variations

This background explains to some degree the stylistic bandwidth and the colourfulness of their music – he who is familiar with the subtleties and variations is able to apply them. However, that is not everything. The group’s repertoire comprises two inherent programmes: One for the milongas and the other for concerts. With its affection for dance events, 'Cuarteto Rotterdam' distinguishes itself definitively from each one of its peers. There is a straightforward enjoyment of the atmosphere at milongas and festivals, the work of the organiser on behalf of 'his' dancers and the possibility here of simply rocking one’s socks off to the music.
It is here that the German/Dutch group has an advantage on its side. The ensemble manages with ease to sound astonishingly voluminous and yet compact when necessary. The sound, which is almost opulent given that the group is a quartet, is particularly pleasurable in the interpretations of the old orchestral classics of Pugliese, Troilo or Di Sarli. A wonderful example of this is the recording of Di Sarli’s Bahia Blanca on their CD Yunta de Oro. Danceable, preserved in the old style and yet arranged with a modern sound – one must first be able to even manage such a thing in a small group.
Completely different is the ensemble’s approach to new compositions. To date 'Cuarteto Rotterdam' has avoided composing any tangos itself. Instead, Michael Dolak is constantly seeking out new tangos that could suit the group’s playing style. Contacts with Buenos Aires have resulted in the discovery of pieces by Eduardo Lettera. Two of his compositions can be found on the Yunta de Oro CD and the catchy Divertida, a milonga, is a true enhancement to the established tango repertoire.

Prospects

The tango does not boast fans right across Europe and as such it is not easy for a non-Argentinean ensemble to find its feed with concertgoers. Establishing oneself in this field requires time. 'Cuarteto Rotterdam' would like to host more concerts, also outside of Europe if possible, and work is ongoing in this regard – in the form of self-management. The group could also well imagine cooperating on tango shows or productions. A new CD is also presently in work and is due for release in September. The production once again unites pieces from milonga and concert programmes, as well as a number of pieces from Eduardo Lettera. It also provides further documentation of the musical development of the group. Let’s hope that the new CD generates even more interested listeners than the first.

Tangodanza, no. 3 2009

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