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Klaudiusz Baran - Piazzolla: Bandoneon Concerto "Aconcagua", Tres Tangos, Oblivion - COMPACT DISCS [CD]

SKU: 12521931

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Astor Piazzolla (1921-1992) was an Argentine composer and bandoneon virtuoso who revolutionized the traditional tango by infusing it with elements of jazz, classical music, and modern harmonies. His work transformed tango from a dance genre rooted in Buenos Aires' popular culture into a sophisticated art form suitable for the concert hall. Central to this transformation were his bandoneon concertos, which showcased the expressive possibilities of the instrument and blurred the boundaries between popular and classical traditions.The bandoneon, a type of button accordion originally developed in Germany, became the soulful voice of Argentine tango. Piazzolla mastered it's complex mechanics and extended it's expressive range far beyond it's traditional role.Aconcagua Concerto for Bandoneon and Orchestra (1980) represents the peak of Piazzolla's orchestral writing. Named after the highest mountain in the Andes, it symbolizes artistic ascent and ambition. This concerto highlights the instrument's dual nature-melancholic yet rhythmic, intimate yet dramatic. In this concerto, Piazzolla combines rich textures, driving rhythms, and virtuosic passages to create a dialogue between the bandoneon and orchestra that is both lyrical and dynamic.Also included on this disc are the Tres Tangos for orchestra and the immensely popular Oblivion, known from Marc Bellocchio's film Enrico IV.Played by Klaudiusz Baran, one of the leading bandoneon players of his country, and the Czestochowa Philharmonic Symphony Orchestra, conducted by Adam Klocek.

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  • Genre
    Classical
    Description
    Astor Piazzolla (1921-1992) was an Argentine composer and bandoneon virtuoso who revolutionized the traditional tango by infusing it with elements of jazz, classical music, and modern harmonies. His work transformed tango from a dance genre rooted in Buenos Aires' popular culture into a sophisticated art form suitable for the concert hall. Central to this transformation were his bandoneon concertos, which showcased the expressive possibilities of the instrument and blurred the boundaries between popular and classical traditions.The bandoneon, a type of button accordion originally developed in Germany, became the soulful voice of Argentine tango. Piazzolla mastered it's complex mechanics and extended it's expressive range far beyond it's traditional role.Aconcagua Concerto for Bandoneon and Orchestra (1980) represents the peak of Piazzolla's orchestral writing. Named after the highest mountain in the Andes, it symbolizes artistic ascent and ambition. This concerto highlights the instrument's dual nature-melancholic yet rhythmic, intimate yet dramatic. In this concerto, Piazzolla combines rich textures, driving rhythms, and virtuosic passages to create a dialogue between the bandoneon and orchestra that is both lyrical and dynamic.Also included on this disc are the Tres Tangos for orchestra and the immensely popular Oblivion, known from Marc Bellocchio's film Enrico IV.Played by Klaudiusz Baran, one of the leading bandoneon players of his country, and the Czestochowa Philharmonic Symphony Orchestra, conducted by Adam Klocek.
    Artist
    Klaudiusz Baran
    Title
    Piazzolla: Bandoneon Concerto "Aconcagua", Tres Tangos, Oblivion
    Format
    CD
    Label
    Brilliant Classics
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Klaudiusz Baran - Piazzolla: Bandoneon Concerto "Aconcagua", Tres Tangos, Oblivion   - COMPACT DISCS [CD]
Klaudiusz Baran - Piazzolla: Bandoneon Concerto "Aconcagua", Tres Tangos, Oblivion - COMPACT DISCS [CD]

Astor Piazzolla (1921-1992) was an Argentine composer and bandoneon virtuoso who revolutionized the traditional tango by infusing it with elements of jazz, classical music, and modern harmonies. His work transformed tango from a dance genre rooted in Buenos Aires' popular culture into a sophisticated art form suitable for the concert hall. Central to this transformation were his bandoneon concertos, which showcased the expressive possibilities of the instrument and blurred the boundaries between popular and classical traditions.The bandoneon, a type of button accordion originally developed in Germany, became the soulful voice of Argentine tango. Piazzolla mastered it's complex mechanics and extended it's expressive range far beyond it's traditional role.Aconcagua Concerto for Bandoneon and Orchestra (1980) represents the peak of Piazzolla's orchestral writing. Named after the highest mountain in the Andes, it symbolizes artistic ascent and ambition. This concerto highlights the instrument's dual nature-melancholic yet rhythmic, intimate yet dramatic. In this concerto, Piazzolla combines rich textures, driving rhythms, and virtuosic passages to create a dialogue between the bandoneon and orchestra that is both lyrical and dynamic.Also included on this disc are the Tres Tangos for orchestra and the immensely popular Oblivion, known from Marc Bellocchio's film Enrico IV.Played by Klaudiusz Baran, one of the leading bandoneon players of his country, and the Czestochowa Philharmonic Symphony Orchestra, conducted by Adam Klocek.

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... with each instrument, they vary the timbres and ornaments, the tempi and the rhythmical interplay, as well as the harmonies that they push to the sonorities of rock, all while staying classical. (Yves Bernard, Le Devoir) Montreal-based ethno-classical Duo Beija-Flor explores the Spanish and Portuguese influence on classical music with COSTAS, their vibrant debut for Big Round Records. Charles Hobson and Marie-Noëlle Choquette form a highly expressive, versatile duo that is a force to be reckoned with. The twenty-two tracks on COSTAS appear to be bite-sized, but not only do they span a vast repertoire, they also pack a powerful punch individually. When Astor Piazzolla's only non-tango piece (Escualo) is contrasted with traditional Spanish folk songs (Siete Canciones Españolas) and motion picture soundtracks (Summer Garden Suite), it's not far-fetched to call this selection eclectic. All the more astounding, then, is Duo Beija-Flor's ability to tie this diverse program together, making it sound as if these pieces had always gone hand in hand. Occasionally, experimental elements are allowed in and incorporated into the flow of the album, such as the temporary, modernist dissonance in Boulevard San Jorge or the jazz harmonies in Havana Street Parade. And naturally, mirroring the dualist nature of the set-up, contrasts abound, not only in instrumental timbre and dynamics, but also in the music's character Thus, the cheerful sweetness of Pé de Moleque and Quebra Quiexo (both aptly performed according to their title referencing Brazilian candy) is abruptly cut short by two dramatic fados pondering nothing less than the value of life. COSTAS attractively meanders between the light-footed and the profound, and the album's finale, Four Sephardic Songs, forms a majestic and evocative conclusion to an hour of music that is as vivacious, colorful and multi-faceted as the perf

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