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Track Listings
| 1. Sinfonía Buenos Aires, Op. 15 (1951) |
| 2. Concerto for Bandoneón, String Orchestra and Percussion, Aconcagua (1979) |
| 3. Las Cuatro Estaciones Porteñas (1964-70) |
Product Description
Review
The Nashville Symphony is technically pretty impressive(try its intricate and clean woodwinds for starters) but it knows how to relax into the more langorous corners of Piazzolla's writing,too,as if sinking into a comfortable old sofa. CD OF THE MONTH --Classic fm Magazine,Feb'11
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Customer Reviews
Most Helpful Customer Reviews
6 of 6 people found the following review helpful
Format:Audio CD
On this excellent Naxos recording Piazzolla's full range of orchestral skills is demonstrated without the tango passion 'going missing'. For me the Concerto featuring Bandoneon really scores as does his own original take on the Four Seasons(written 1964-70). In the latter he quotes Vivaldi extensively that is in advance/similar to current dance/digital mix artists. It is both satisfying, appropriate and in places humorous. I am not familiar with the work of the Nashville Symphony Orchestra however this recording shows them to be more than 'up to the job', with a clean, light but passionate and in places moody feel. The performances by the two soloists, Daniel Binelli and Tianwa Yang are similarly impressive. Buenas
3 of 3 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
Not only is this a very attractive package it's a very intriguing one. The Concerto for Bandoneon, strings and percussion is as lyth and supple as any of his smaller arrangements and the same goes for the Four Seasons.
The early Symphony won't get heard so often. It has its faults and Piazzolla clearly learned a better scoring arrangement around the Bandoneon in the concerto. It does, however, give us a view of the classically trained and ambitious young composer at least showing a flair for orchestration. The first two movements are built around the tango with a prominent role for the bandoneon but the harmonies are more daring and dissonant.
His teacher in Paris, Nadia Boulanger took one look at his orchestral scores and suggested that he was trying too hard to copy Stravinsky and Bartok whereas his tangos revealed his true musical personality. The symphony does impersonate them and does try to shock at times but the tangos hold it together formally. The finale has the brutal dynamism found in some of his Argentinian teacher, Alberto Ginastera's work. The physical momentum holds the finale together - like Ginastera's First Piano Concerto, to leave a flawed but exciting symphony.
In the concerto he realised that there is no need to combine a bandoneon with wind instruments because of their similarity in tone. All three movements are tango driven without the harmonic shocks of the symphony. In short, it is the work of a composer in total command of the form without sacrificing anything of his nuevo tango style. There is more than a hint too of the neo classical and neo baroque. It is a terrific piece and much more relaxed in temperament than the symphony.
The Four Seasons, arranged for violin and strings carries many baroque references with Vivaldi liberally quoted throughout. The quotations from his Four Seasons are placed in the movements of the opposite seasons - eg Vivaldi's "summer" appears in Piazzolla's "winter" because the music comes from the other hemisphere. That's a nice touch but these four pieces are arrangements and some credit must be given to the arranger here. To be honest, these four movements are attractive tango based movements again with a baroque flavour - they're hardly pictorial representations of the seasons: They're just four lovely tango movements.
The Nashville Orchestra under Giancarlo Guerroro are more than a match for these pieces and I was particularly impressed with violin solist Tianwa Yang in the Four Seasons who manages to capture the spirit of the bandoneon in her playing.
Whether you like classical, tango or both this is an excellent recording and comes highly recommended.
The early Symphony won't get heard so often. It has its faults and Piazzolla clearly learned a better scoring arrangement around the Bandoneon in the concerto. It does, however, give us a view of the classically trained and ambitious young composer at least showing a flair for orchestration. The first two movements are built around the tango with a prominent role for the bandoneon but the harmonies are more daring and dissonant.
His teacher in Paris, Nadia Boulanger took one look at his orchestral scores and suggested that he was trying too hard to copy Stravinsky and Bartok whereas his tangos revealed his true musical personality. The symphony does impersonate them and does try to shock at times but the tangos hold it together formally. The finale has the brutal dynamism found in some of his Argentinian teacher, Alberto Ginastera's work. The physical momentum holds the finale together - like Ginastera's First Piano Concerto, to leave a flawed but exciting symphony.
In the concerto he realised that there is no need to combine a bandoneon with wind instruments because of their similarity in tone. All three movements are tango driven without the harmonic shocks of the symphony. In short, it is the work of a composer in total command of the form without sacrificing anything of his nuevo tango style. There is more than a hint too of the neo classical and neo baroque. It is a terrific piece and much more relaxed in temperament than the symphony.
The Four Seasons, arranged for violin and strings carries many baroque references with Vivaldi liberally quoted throughout. The quotations from his Four Seasons are placed in the movements of the opposite seasons - eg Vivaldi's "summer" appears in Piazzolla's "winter" because the music comes from the other hemisphere. That's a nice touch but these four pieces are arrangements and some credit must be given to the arranger here. To be honest, these four movements are attractive tango based movements again with a baroque flavour - they're hardly pictorial representations of the seasons: They're just four lovely tango movements.
The Nashville Orchestra under Giancarlo Guerroro are more than a match for these pieces and I was particularly impressed with violin solist Tianwa Yang in the Four Seasons who manages to capture the spirit of the bandoneon in her playing.
Whether you like classical, tango or both this is an excellent recording and comes highly recommended.
Most Helpful Customer Reviews on Amazon.com (beta)
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3 reviews
5 of 5 people found the following review helpful
A Piazzolla grab-bag, but beautifully played
29 Oct 2010
Format:Audio CD
The Nashville Symphony Orchestra really showed their stuff in Latin American repertoire with their highly-regarded Naxos recording of the complete Bachianas Brasileiras of Villa-Lobos in 2000 (conducted by the late Kenneth Schermerhorn). This new Naxos disc brings this strong tradition to the most important orchestral works of Astor Piazzolla, under the direction of Nashville's dynamic Music Director Giancarlo Guerrero.
The Sinfonia Buenos Aires was written under the influence of Piazzolla's teacher Alberto Ginastera. Though this rather episodic work doesn't share Ginastera's formal mastery, it's a sprawling, colourful symphonic work (or rather, three symphonic movements). The Concerto for Bandoneon is, I think, more successful. It may, in fact, be Piazzolla's best orchestral work, partly because it's scored for strings and percussion only.
The final work on the disc is Las Cuatro Estaciones Portenas (Four Seasons of Buenos Aires), in a version for violin and orchestra made by Leonid Desyatnikov after Piazzolla's death. Though I'm not a complete musical purist - I love Charlie Parker's sessions with strings, for example - I'm not a fan of this particular pastiche. Piazzolla's nuevo tango style is itself a melding of traditional tango, Baroque, and jazz styles, so it's natural to experiment with new orchestrations. But I much prefer this music in a bandoneon-led small group. That said this version is very well played indeed, with Tianwa Yang providing some hair-raising turns on her violin.
Thomas May's thoughtful liner notes include a wealth of pertinent information about Piazzolla's life and music. This is just one of the areas in which Naxos excels. The label has raised the art and business of classical music to a very high level, especially considering the state of today's musical commerce.
The Sinfonia Buenos Aires was written under the influence of Piazzolla's teacher Alberto Ginastera. Though this rather episodic work doesn't share Ginastera's formal mastery, it's a sprawling, colourful symphonic work (or rather, three symphonic movements). The Concerto for Bandoneon is, I think, more successful. It may, in fact, be Piazzolla's best orchestral work, partly because it's scored for strings and percussion only.
The final work on the disc is Las Cuatro Estaciones Portenas (Four Seasons of Buenos Aires), in a version for violin and orchestra made by Leonid Desyatnikov after Piazzolla's death. Though I'm not a complete musical purist - I love Charlie Parker's sessions with strings, for example - I'm not a fan of this particular pastiche. Piazzolla's nuevo tango style is itself a melding of traditional tango, Baroque, and jazz styles, so it's natural to experiment with new orchestrations. But I much prefer this music in a bandoneon-led small group. That said this version is very well played indeed, with Tianwa Yang providing some hair-raising turns on her violin.
Thomas May's thoughtful liner notes include a wealth of pertinent information about Piazzolla's life and music. This is just one of the areas in which Naxos excels. The label has raised the art and business of classical music to a very high level, especially considering the state of today's musical commerce.
4 of 5 people found the following review helpful
The Symphonic Piazzolla Dazzles
2 Oct 2010
Format:Audio CD|Amazon Verified Purchase
From the opening blast of Piazzolla's Sinfonia Buenos Aires, composed early in his career in 1951, we are engaged in rich, complex, and sonically arresting orchestration. Piazzolla had studied with Ginastera for five years, and the lessons learned make this strongly classical, soulful, and rhythmic work a delightful surprise. Underlying tango elements, assisted by the trademark bandoneón, are present to complete the portrait of the energetic city. Shortly afterwards, Piazzolla concentrated on his nuevo tango for smaller ensembles, but in 1979 he provided another symphonic piece, a concerto for bandoneón and string orchestra that emphasizes the wistfulness and passsion somehow integral with the instrument's timbre. The Nashville Symphony Orchestra under the baton of Giancarlo Guerrero captures the variety of moods well in this recording, and Daniel Binelli is the maestro of the bandoneón, part of Piazzolla's own New Tango Sextet. His performance of the powerful and mournful lyricism of the second movement brings tears. The third work on the album is a composite of various writings that constitute a Four Seasons in the manner of Vivaldi. Here, it is arranged for violin and strings, with Tianwa Yang as soloist. Her precision and technique in meeting the rough and romantically lyrical requirements of these unusual pieces demonstrate why she is a rising international star. Each section is its own story; there is no uniting feature, other than some baroque references and an exploration of emotions. These symphonic works make this album an excellent, very worthy addition to anyone's Piazzolla or classical collection.
2 of 3 people found the following review helpful
Live version
18 Oct 2010
Format:Audio CD
Well, I'm just ordering this CD at this moment, so maybe I'm anticipating, but I was present at one of the Nashville Symphony's live concerts of this program, and it was one of the most exciting and memorable concert evenings of my life. Both soloists are amazing, and this is just the kind of music this orchestra most excels at -- rhythmic, modern, and lively. I look forward eagerly to receiving my copy!
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