Brian Caballero is a bandoneonist player, composer and teacher born in 1983 in Buenos Aires, Argentina.


His main work as a performer has been the search of repertoire for the bandoneon, with the aim of widening the possibilities of the instrument. He continues an important path initiated by maestros like Alejandro Barletta, Rodolfo Daluisio, Dino Saluzzi and Astor Piazzolla.


He made his musical studies with maestro Alejandro Barletta, the founder of a technique for playing baroque, classical and contemporary music in an instrument dedicated completely to tango. However, the background lead Brian to perform many genres from his own land being his main focus on tango. The secrets of it he owes to the guide and teachings of maestro Rodolfo Mederos.


Artistic freedom and open-minded views gave place to many varied musical projects. From traditional tango orchestras to more experimental groups of electronic tango, rock, contemporary and world music.


He was invited to share the stage with local artists (Chango Spasiuk, Mariana Carrizo) as well as international ones (Hassan Dyck, Hans Hartmann).


In 2011 he traveled to Brazil for the world premiere of “Interlunio IV”, a work of renowned composer Jocy de Oliveira especially commissioned by the XIX Biennal of Contemporary Music of Rio de Janeiro. In 2012 he returned to participate in the Ensamble Jocy de Oliveira for the premiere of multimedia opera “Berio sem censura” in Rio and Sao Paulo. He also gave acclaimed solo concerts in Belo Horizonte which were broadcasted on local TV.


As a teacher he specializes in bandoneon technique for tango and classical music. He also gives workshops about the instrument, theory, practice, arrangements and performance of tango. 


At the moment Brian is working on his own compositions which are inspired by old primitive tango and oriental modes and rythms.


BANDONEÓN BRIAN CABALLERO

Por Rubén Mettini

 

Escuchamos una pieza tocada por Brian Caballero. Descubrimos que el bandoneón se desdobla en diversos instrumentos, según los momentos nos recuerda una guitarra, un órgano o un oboe. A veces la voz es grave como un quejido gutural, otras veces, adquiere tonalidades agudas que nos evocan cantos de pájaros. 

La música de Brian siempre tiene una intencionalidad clara. El sonido es acariciador, untuoso y aterciopelado. Tocando con los ojos cerrados, nos damos cuenta que las notas son destiladas en el interior del intérprete para crear algo que toma cuerpo en el vacío, se genera en el espacio e inventa la magia que está más allá de una escritura musical.

El tema llega traducido por la sensibilidad del ejecutante, se aleja del original. Brian Caballero, con pleno dominio de las dinámicas, hace pasar la melodía por redomas íntimas y el oyente sólo debe dejarse llevar por las atmósferas que él sabe crear.

Lo más notable tal vez sea una espiritualidad muy marcada en su música. La hallamos en un tema de Bach, en las danzas folclóricas rumanas de Béla Bartók o en melodías argentinas, con el sabor de la tierra que lo vió nacer.

Al escucharlo no sólo asistimos a una celebración de la música, sino también a una mística de la interpretación. Una pieza de Brian Caballero al bandoneón nunca nos dejará indiferente. Y cuando la melodía acaba y el bandoneón calla, nos sentiremos más cerca de él, porque nos ha regalado belleza y perfección.

"Brian is a young musician

who has faith in the possibilities of the bandoneon; working seriously and with enthusiasm,

he is making

great advances.

In technique

he is in the right way to absolute control of the instrument and his compositions catch our attention because of the simplicity and clarity in the treatmen of

the musical idea." 

Rufo Herrera / jun 2011

 

"Brian Caballero plunges into different styles and genres looking for his own musical identity. From there emerges his voice in composition and perfomance with an interesting proposition that goes forward into many directions." 

Rodolfo Mederos