Rodolfo Mederos

拉道夫?曼德爾斯（Rodolfo Mederos）既是一名杰出的班多鈕手風(fēng)琴演奏家，同時(shí)也是一名不可多得的作曲家。他為探戈舞編寫配樂、組織配器，其創(chuàng)作的音樂作品涵蓋了從流行樂到交響樂的多種體裁，也涵蓋了不同的樂器種類,并由多支樂隊(duì)來演繹?！耙环矫?，我學(xué)習(xí)音樂，另一方面，我創(chuàng)作音樂。音符，已經(jīng)在我的腦中休眠，直到我激活它們，并把它們重新組合成為清晰而生動(dòng)的樂章?！崩婪?曼德爾斯說。正是在研習(xí)了多種樂曲之后，曼德爾斯終成為探戈領(lǐng)域的一位大師。他曾與許多著名表演藝術(shù)家與藝術(shù)團(tuán)體合作演出，其中包括阿斯托?皮亞佐拉(Astor Piazzolla)、奧斯瓦爾多?普格列斯(Osvaldo Pugliese)、丹尼爾?巴倫博依姆(Daniel Barenboim)、恩立克?莫倫特(Enrique Morente)、拉里?科耶爾(Larry Coryell)、漢堡交響樂團(tuán)等。 　　拉道夫?曼德爾斯同時(shí)也是生物學(xué)家、電影制作人、木匠、教師和收藏家。1969年，曼德爾斯加入到奧斯瓦爾都?帕格里斯（Osvaldo Pugliese）的管弦樂團(tuán)擔(dān)任樂師和編曲。1984年，在雨果?圣地亞哥?慕切尼克執(zhí)導(dǎo)的電影《土星上的人行道》（《Les trottoirs de saturne》）里飾男主角并擔(dān)任電影作曲。同年，他和同事在阿維拉達(dá)的街區(qū)建立了艾斯庫拉流行音樂學(xué)院。從1985年起，曼德爾斯在流行音樂學(xué)院擔(dān)任終身教授，教授“探戈語言的技術(shù)層面”以及“合奏練習(xí)”。其撰寫的著作有《學(xué)習(xí)演奏班多鈕的方法論》、《論探戈音樂的編曲》。 　　1996年，拉道夫?曼德爾斯與鋼琴家、指揮家丹尼爾?巴倫博伊姆、大提琴家?？硕?康索爾合作出版了由皮亞佐拉作曲的專輯《Tango among friends》。 所有這一切都為拉道夫?曼德爾斯成為阿根廷音樂里程碑式的音樂家奠定了基礎(chǔ)。
by Jason Birchmeier
Early in the illustrious career of Argentine bandoneonist, composer, and arranger Rodolfo Mederos, he played with some of tango's most legendary figures and, later in his career, assumed the role of teacher, both formally and informally reaching out to a younger generation of tango enthusiasts. Born on March 25, 1940, in Buenos Aires, Mederos studied at the University of Córdoba and took his greatest inspiration from Astor Piazzolla. At age 20 he formed Octeto Guardia Nueva and was blessed with the opportunity to perform as the opening act at a Piazzolla concert in Córdoba. Enthused by the experience and moved by the warm audience reception, Mederos packed his bags and moved to Buenos Aires 15 days later, with plans to devote himself to music rather his biology studies at the university.
After some rough years in Buenos Aires as a struggling artist, the highlight of which was a 1966 album on the Producciones Matus label, Buenos Aires...al Rojo!, Mederos set sail for Paris, France, in 1967. Two years later he accepted an offer back in Argentina to join the orchestra of Osvaldo Pugliese, in which he served as bandoneonist and arranger until 1974. Afterward he formed a group of his own, Generación Cero, with which he recorded a pair of albums for Trova Discos, Fuera de Broma (1976) and De Todas Maneras (1977). Then in 1978 Mederos released a solo-billed album, Todo Hoy, and, after five years of silence as a recording artist, returned in the mid-'80s with a pair of additional solo albums, Buenas Noches, Paula (1983) and Verdades y Mentiras (1984), these ones for Sony.
In 1984 Mederos and associates founded a school of music, La Escuela de Música Popular, in the Avellaneda neighborhood, at which he served as a professor for many years, and accordingly, he began refocusing his efforts on teaching rather than entertaining. This didn't stop him from resuming his recording career toward the end of the decade, however, adding such albums to his credit as Reencuentros (1989), Tanguazo (1993), Carlos Gardel por Rodolfo Mederos (1992), Mederos Quinteto (1994), Mi Buenos Aires Querido (1995), El Día que Maradona Conoció a Gardel (1996), and El Tanguero (1998) -- most of these released internationally rather than just domestically as his previous albums had been.
In 2000 Mederos was nominated for a Latin Grammy Award in the category of Best Tango Album for Eterno Buenos Aires (1999), which featured him performing with a quintet comprised also of pianist Hernán Posetti, violinist Damián Bolotín, guitarist Armando de la Vega, and double bassist Sergio Rivas. His successive two albums were recognized similarly: Las Veredas de Saturno (2000) won a Gardel Award in 2001 while Tangos (2000), a collaborative album with Nicolás "Colacho" Brizuela, earned a Latin Grammy Award nomination in 2001. Around mid-decade, Mederos commenced the Comunidad-Intimidad-Soledad trilogy -- Comunidad (2006), Intimidad (2007), and Soledad (2007) -- the first entry in which earned him a Latin Grammy Award nomination for Best Tango Album in 2007.