Rodolfo Mederos

拉道夫•曼德尔斯（Rodolfo Mederos）既是一名杰出的班多钮手风琴演奏家，同时也是一名不可多得的作曲家。他为探戈舞编写配乐、组织配器，其创作的音乐作品涵盖了从流行乐到交响乐的多种体裁，也涵盖了不同的乐器种类,并由多支乐队来演绎。“一方面，我学习音乐，另一方面，我创作音乐。音符，已经在我的脑中休眠，直到我激活它们，并把它们重新组合成为清晰而生动的乐章。”拉道夫•曼德尔斯说。正是在研习了多种乐曲之后，曼德尔斯终成为探戈领域的一位大师。他曾与许多著名表演艺术家与艺术团体合作演出，其中包括阿斯托•皮亚佐拉(Astor Piazzolla)、奥斯瓦尔多•普格列斯(Osvaldo Pugliese)、丹尼尔•巴伦博依姆(Daniel Barenboim)、恩立克•莫伦特(Enrique Morente)、拉里•科耶尔(Larry Coryell)、汉堡交响乐团等。 　　拉道夫•曼德尔斯同时也是生物学家、电影制作人、木匠、教师和收藏家。1969年，曼德尔斯加入到奥斯瓦尔都•帕格里斯（Osvaldo Pugliese）的管弦乐团担任乐师和编曲。1984年，在雨果•圣地亚哥•慕切尼克执导的电影《土星上的人行道》（《Les trottoirs de saturne》）里饰男主角并担任电影作曲。同年，他和同事在阿维拉达的街区建立了艾斯库拉流行音乐学院。从1985年起，曼德尔斯在流行音乐学院担任终身教授，教授“探戈语言的技术层面”以及“合奏练习”。其撰写的著作有《学习演奏班多钮的方法论》、《论探戈音乐的编曲》。 　　1996年，拉道夫•曼德尔斯与钢琴家、指挥家丹尼尔•巴伦博伊姆、大提琴家埃克多•康索尔合作出版了由皮亚佐拉作曲的专辑《Tango among friends》。 所有这一切都为拉道夫•曼德尔斯成为阿根廷音乐里程碑式的音乐家奠定了基础。
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.