A pupil of Alberto Ginastera in Argentina and Nadia Boulanger in Paris, Astor Piazzolla found his way by transforming the tango. Between 1965 and 1970 he composed his Cuatro estaciones porteñas, four independent works that evoke the flow of the seasons in Buenos Aires, “that city in which −according to the author of the program notes, Esteban Buch− people sweat in summer, shiver in winter, and change their clothes all the time in spring and autumn, continually complaining about the humidity”.
Ginastera and Piazzolla represent Argentine music for their ability to sublimate the rural (Ginastera) and urban (Piazzolla) traditions of the austral country. Ginastera bases his Sonata no. 1, with its great technical difficulty and tonal language, on rhythms characteristic of the Pampas. In turn, Piazzolla (Ginastera’s pupil) uses the tango as the basis for his evocation of the four seasons in Buenos Aires, “that city in which the people perspire in summer, shiver in winter, and constantly change clothes in spring and in autumn, incessantly complaining about the humidity”.