A century closer to immortality. “The music of Buenos Aires” is how Astor Piazzolla characterised his own work, informed by years of study first with Alberto Ginastera in Argentina, and later with Nadia Boulanger in Paris. By bringing together essential examples of his oeuvre, this collection immerses the listener in a soundscape perfectly balanced between classical techniques and tango tradition. These intoxicating masterpieces receive captivating readings by a team of preeminent performers who are keen champions of Piazzolla’s emblematic legacy.
ASTOR PIAZZOLLA [1921-1992] Concerto for bandoneon, strings and percussion · I. Allegro marcato (6'49) · II. Moderato (7'38) · III. Presto (7'00) Histoire du tango for flute and guitar · I. Bordel 1900 (3'45) · II. Café 1930 (6'12) · III. Nightclub 1960 (5'09) · IV. Concert d'aujourd'hui (2'44) Tres movimientos tanguísticos porteños · I. Allegretto (6'48) · II. Moderato (8'30) · III. Vivace (3'56)
· Libertango (4'56) · Decaríssimo (2'43) · Michelangelo 70 (3'02) · Milonga del Ángel 2 (6'04) · La muerte del Ángel 2 (2'53) · Resurección del Ángel 4 (7'29) · Escualo (3'32) · Invierno porteño (6'53) · Valsísimo (5'33) · Soledad (from Tango ballet) (4'43) · Tango-suite No. 3 pour Flûte et deux Guitares (6'47) · Adiós nonino (8'14)
· Le Grand Tango (12'20) Six Tangos-Études for solo flute · I. Décidé (2'42) · II. Anxieux et rubato (6'49) · III. Molto marcato e energico (3'06) · IV. Lento meditativo (3'15) · V. Sans indication (1'46) · VI. Avec anxiété (3'35) · III. Molto marcato e energico (for solo violin) (2'59) · Los pájaros perdidos (Mario Trejo) (2'36) · Jacinto Chiclana (Jorge Luis Borges) (2'43) · El títere (Jorge Luis Borges) (2'21) Five pieces for solo guitar · I. Campero (4'06) · II. Romántíco (4'22) · III. Acentuado (3'16) · IV. Tristón (4'17) · V. Compadre (3'13) · Oblivion for alto flute, bandoneon, guitar and double bass (3'44)
