“I want us to break everything,” said Astor and we embarked together in his delirium with all the push of our youth because we knew we were presenting something new and of quality. Difficult scores that left the guitar a great space for improvisation. The electric guitar, that perverted instrument without roots in tango, was too transgressive as to cross so many limits together”
Horacio Malviccino, guitarist of the Octeto Buenos Aires
In October 1955 the collective objectives of the Octet were published in a document entitled "Decalogue" (written by Piazzolla), in which the objectives of the Piazzollan revolution were set in some detail.
Group preferably for artistic purposes leaving the commercial face in the background
Gradually abandon participation in other orchestras, to perform in this set the maximum efficiency.
Do the tango as it feels, eliminating all kinds of strange influences that they can influence the fixed purposes.
In the case of a group consisting of soloists, each of which has a outstanding musical participation, there is no director. Only one driving is recognized Musical: Astor Piazzolla.
The repertoire will consist of current works, the Old Guard and the new creations that are produced.
To take full advantage of the musical resources of tango, I don't know they will perform sung works, with few exceptions.
Whereas the ensemble must only be heard by the public, it is not will perform in dances. Therefore, the performances will be limited to radio, television, recordings and shows.
The use of instruments never incorporated into tango orchestras (guitar electric) and other effects (percussion) as well as the total structuring of the works with their modern turn, will be explained before any interpretation, in order to facilitate this way your immediate understanding and reach.
Whereas nothing is the result of improvisation ... the scores will be written inside of the greatest possible musical improvement that can be achieved in this genre, which will empower them to be considered by the most demanding experts.
a) raise the quality of tango;
b) convince those who have moved away from tango, and their detractors, of the unquestionable values of our music;
c) attract lovers foreigners of foreign music;
d) conquer the public, a task discounted as hard, but sure, as soon as I can hear the songs repeatedly;
e) take to foreigner, as an artistic embassy, this musical expression of the country where tango had its origin, to show its evolution and further justify the appreciation with which it is distinguished.