The elegant tango “Comme Il Faut” was written by the great player, composer, and bandleader Eduardo Arolas (also known as “El Tigre del Bandoneon”) between 1917 and his untimely death in 1924. Crisp rhythmic eighth notes and beautiful singing melodic lines converge to create this clean and proper tango.

A tribute to violinist and bandleader Enrique Mario Francini (1916–1978), “Francini” captures the beautiful style and tone of the tangos written by its namesake. All members of the string quartet share the limelight at different times during the playing of this dignified piece.

(Excerpted from the Performance Notes)

About “Comme Il Faut”

This early, and very elegant, tango was written by Eduardo Arolas (also known as “El Tigre del Bandoneon” or the Tiger of the Bandoneon), between 1917 and his untimely death in 1924 at the age of 32. He was considered one of the greatest players and composing bandleaders of his time.

“Comme Il Faut” means the way it should be or proper. The best explanation of this title was given to me by a French friend whose grandmother would set the table with fine china and silverware and step back from the table, eyeing it carefully. Then she would step up to the table, adjust a fork ever so slightly, and step back, again, to eye the table setting. Finally, satisfied, she would say “Comme il faut. Nobody touches the table until company arrives.”

How do we translate this sentiment into music? Crisp rhythmic eighth notes and beautiful singing melodic lines converge to create this clean and proper tango that finds each player doing his or her part to keep the rhythm steady and elegant at the same time.

Comme Il Faut

About "Francini"

This tango takes its name from one of the all-time great violinists and bandleaders in the history of tango, Enrique Mario Francini (1916–1978). He was known for his beautiful style and tone, and hailed as one of the great composers of tango music. I wrote this tango to memorialize the great Francini and to keep his name alive in our minds and memories—remembering our roots always gives us a great point of reference for understanding style.

This particular tango is an interactive event, with all members of the quartet sharing the limelight at different times during the piece.

While playing this tango, there are a few important things to keep in mind. First, the greater share of this piece has the second violin and viola parts carrying the melody, while the first violin and cello parts provide critical rhythm and architecture.

Francini

—Jeremy Cohen