Piazzolla Лкуьук

Riga-born Ksenija Sidorova is today one of the most eminent global ambassadors of the classical accordion. She has proudly borne the colours of her instrument in appearances in the world’s leading halls and with the foremost orchestras. Here she pays homage to Piazzolla in her own way: ‘Piazzolla the revolutionary, the ground-breaker, a man thinking ahead of his time . . . Playing this repertoire gave me a sense of artistic freedom and ignited my belief in advocacy of my instrument. For this album, I wanted to celebrate Piazzolla the innovator by pairing some his masterworks with pieces written by other composers for classical accordion, the majority of which I have premiered in recent years.

Star violinist Arabella Steinbacher presents Antonio Vivaldi's world-famous Four Seasons alongside Astor Piazzolla's Cuatro estaciones porteñas, creating a lively combination of baroque and tango. The enormous popularity of Vivaldi's Four Seasons tends to make us forget the original and ground-breaking nature of these violin concertos. Coupling them with Piazzolla's tango-inspired Four Seasons of Buenos Aires makes both pieces sound fresher than ever before, thanks to Steinbacher's personal engagement with the repertoire and the inspired accompaniment of the Münchener Kammerorchester.

Gary Burton's Libertango: The Music of Astor Piazzolla continues the vibraphonist's homage to Piazzolla's nuevo tango, which began with 1996's Astor Piazzolla Reuninon: a Tango Excursion. Here, as on that album, Burton collaborates with former Piazzolla players such as pianist Pablo Ziegler, violinist Fernando Suarez-Paz, and guitarist Horacio Malvicino on stylized updates of the composer's best-known tangos. Burton's vibes weave in and out of interpretations of "Escualo," "Fuga Y Misterio," and "Adios Nonino," which dance along on brisk, jazzy rhythms that nevertheless capture the tango's elegant passion. Libertango is another fresh and worthwhile exploration of Piazzolla's music from an artist.

Who is María? Horacio Ferrer,librettist of this unconventional operita , said that she was a representation of Buenos Aires, embodying the spirit of tango itself. María de Buenos Aires lies outside any known genre. According to Ferrer, its highly poetic libretto was written not to be understood, but to create emotion and atmosphere .Piazzolla's music, too, offers a charged mix of classical forms and Argentinian traditions milonga, tango and the sparring spoken word of the traditional payada. In this,the first major recording since the 1980s, Delphian stalwarts Mr McFall's Chamber are joined by their long-term collaborators Valentina Montoya Martínez and Nicholas Mulroy, narrator Juanjo Lopez Vidal, and internationally acclaimed tango musicians Victor Villena and Cyril Garac.

Through his life, Piazzolla’s passion was the music of Argentina, which meant the tango, and through his development of tango nuevo he made “respectable” what originally was urban dance music of the working classes in Buenos Aires. Of course, he did this by taking the very elements that gave this music its earthy appeal–excited, swirling, sensuous melody, pulsing ostinato, syncopation–and recast them in more sophisticated forms, particularly regarding rhythm (including polyrhythmic structures and irregular divisions) and harmonies derived from jazz and classical styles.

Despite the deceptive titling format on the CD, this is a CD by Latvian violinist Gidon Kramer, not featuring the playing of Astor Piazzolla. All but four of the songs on the album are compositions by Piazzolla, but performed by Kremer and his group, along with Piazzolla's guitarists Sergio and Odair Assad. The album is definitely in tribute to the leader of the nuevo tango, as the lengthy liner notes describe in three languages.

In the realization of this album I gave all of my heart to the memory of Astor Piazzolla and Jorge Luis Borges. Throughout the whole performance I have tried to reflect Astor Piazzolla’s intense and inimitable style. For that, I had a qualified group of Argentine musicians who contributed all their art to join me in this great project. Jairo’s singing and Lito Cruz’ voice reading poems finish up the framework for this wonderful work by Borges and Piazzolla, which was composed in the 1960’s.