The cover of this first personal album by Lila Horovitz is guaranteed to be immediately striking. It communicates ancestral and sensual impressions with a blend of concave-convex curves, as a symbol of motherhood and childbirth, in music as it is in life.
It is Lila herself telling us that this musical project has developed while she was pregnant with one of her children. It is an intimate journey through the deepest emotions of a woman musician and also composer. Her musical journey still remains a constant discovery. She started out in pop-rock groups, followed by the encounter with jazz and then it was love at first sight with Argentine folk music, in particular the Tango and the double-bass, with which, as she says, she "immediately and eternally” fell in love.
Since then, she has carried out classical studies of technique, harmony and composition and started a two-way journey, where the discovery of classical symphonic and chamber music blend with her passion for tango and its direct ancestral language.
This ancient and lingering love is supported by a number of new instruments that Lila has used during the years to write her tangos, with her idea of tango, without forgetting her inner research. She has also played tango, in her personal style, as part of group or as a soloist. This journey gave rise to her original music. Her composing inspiration encompasses all the classical features of tango, its strong thematic impact, the captivating rhythmical development never far from a sense of dance. In her compositions she never forgets these elements, with the exception of some moments of harmonic and sound research and some experiments of contamination, that we could name “free tango-jazz”.
Lila's artistic project also includes the pianist Juan Esteban Guacci with whom, in other areas and in her private life, she forms a stable duo, a wind section organised by Ramiro Obedman, the bandoneonist Mike Augustusson and, as a special guest, a super-sensual Walter Rios and his bandoneon plus the warm voice of Susana Rinaldi, another constant professional collaborator.
They accompany her in the performance of the classics in the Argentine Tango, included in this project.
Lila Horovitz's CD includes 11 tracks, 7 of which are originals, besides performing them alone or in a group, Lila is also their composer. Then there are 4 tracks with "special guests", as examples of Tango with capital T. Starting from Carlos Gardel, the greatest example of Argentine popular culture, who created the "tango-song". He had a troubled life and died unexpectedly. Surely, the song “El dia que me quieras” is unforgettable once you listen to it, even more when surrounded by the special atmosphere of a tangueria. The performance by Rios and Horovitz, without the moving lyrics and the thrill of a voice, has to concentrate on the waving and melancholic sound that cannot be missed in a Gardel tango. The best result is reached especially when two instruments do not exchange their parts. Each one keeps his own role, just like the tango dance, which is elegant and rigid, where the man and woman's roles cannot be exchanged.
There are other two artists who are probably less famous but no less important in the history of Argentine tango. The first one is Juan Carlos Cobian, great pianist and composer. The second one is Anibal Troilo, whose nickname is "Pichuco", known as the "bandoneón mayor de Buenos Aires" (the best bandoneon player in Buenos Aires) and as orchestra conductor at the Cafè Germinal. This orchestra contributed to make the tango tradition develop in its best forms. Lastly, there has to be a tribute to Astor Piazzolla, with a very famous piece - “Contrabajeando”. Nevertheless, many people do not know that this piece of music was written due to the friendship between Troilo and Piazzolla, during a period of fruitful musical cooperation between the protagonists of two different tango generations.
It is always necessary to be brave to tackle a classic of the virtuoso repertoire, where the instrumental competence and interpretation are both fundamental. Lila is so intelligent that, besides offering her very personal view, she does not ignore, not even in this moment of solo performance, the tanguero features that this piece cannot do without.
The lyrics are by Rainer Maria Rilke, one of the most important German poets of the XX century who used art and expression to cope with a troubled life. His lyrics accompany the symbolic image of this project. They are dedicated to a "young poet" and apply to anyone, who, through the ages, defines himself as an "artist".

“Todo es llegar a término y después dar a luz.

Dejar que cada impresión, cada germen de un

sentimiento se perfeccione totalmente en sí

mismo, en lo oscuro, en lo indecible,

inconsciente, en lo que es inalcanzable para la

propia razón, y esperar con profunda humildad y

paciencia la hora del alumbramiento de una

nueva claridad: esto solo significa vivir

artísticamente, tanto al comprender como al

crear. ”