Fugo y misterio — это короткое произведение Áстора Пьяццоллы, написанное в 1968 году, которое быстро стало одним из самых известных и любимых произведений аргентинского музыканта. Хотя его часто исполняют отдельно, это произведение является частью María de Buenos Aires, сюрреалистической "танго опериты" (танго-оперы), написанной в сотрудничестве с поэтом Орасио Феррером, рассказывающей о смерти и последующем воскрешении молодой проститутки в Буэнос-Айресе. Однако персонаж Марии также является образом самого танго, а также всей Аргентины в целом. Зависшая нота, на которой Fugo y misterio заканчивается, изящно завершает историю возрождения...
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Ástor Piazzolla's Fuga y misterio is a piece that synthesises the different cultural influences of modern Argentina: at the core of the tango lie elements of classical music, found in the use of the fugal form, as well as features of jazz in its instrumentation. Fuga y misterio, in fact, is written for bandeon, violin, double bass, and piano, but also for vibraphone, electric guitar, drums, and flute! And the mystery to which its title refers to is that of creation, diversity, and the presence of multiplicity that gives birth to beauty. Ástor Piazzolla’s Fuga y misterio is part of the tango opera María de Buenos Aires which tells the story of a prostitute who, after her death, gives birth to a daughter to whom she gives her own name, María. The composition is a parable that could represent the history of the tango itself, which over time has been able to reinvent itself and rise from the ashes. If the silver novelist Borges spoke in one of his works of “learning to die and taking care to be reborn,” Piazzolla seems to have adopted this adage with its prophetic tone.