I was born and grew up in Buenos Aires. My early interest, as well as the main focus of my career, has been on classical music, the Viennese classics, in particular. People around the world associate the Tango with Argentina, but when I was growing up, the traditional Tango was not exactly fashionable or “cool” for people my age, and perhaps classical music wasn’t either. I would mostly hear Tango in the background. It was present on TV and on the radio. I remember listening to it, played by busking bandoneon players on the subway stations of the “D” line, or on an AM radio program coming from a pocket radio from the person who was in charge of pressing the numbers of an old-fashioned elevator in a sports club. I also heard it sometimes on one program or another that many people skipped while flipping through channels on their black and white TVs.


When I left Argentina as an eighteen-year-old, I remember taking with me one cassette of Carlos Gardel. This music, like the mate and the dulce the leche, seems more Argentinean once you are living abroad. I started becoming more interested in Piazzolla’s music with the passing of the years, when I was living abroad in Germany. My main focus remained classical music, but a few years later I wrote a thesis about Piazzolla’s music at the University of Music Freiburg. I had already played some of his music, acquired many of his albums, and wanted to read as much as possible about him and his music. Later, when I was living in Toronto, I unsuccessfully tried to learn how to dance Tango from a Pakistani teacher for about six months. Next came Miami, then Texas, Miami again, and Portland, where I live nowadays. As a member of the New World Symphony, 3 string quartets, and as a faculty member in different Universities, I kept dabbling in the Nuevo Tango, including playing Piazzolla pieces in recitals, fostering collaboration with dancers, and organizing big Piazzolla concerts.


2012 was the twentieth anniversary of Astor’s death, and I decided to use it as an excuse to go ahead with an old pending dream. For years, I had tried to find Tango sheet music in my sporadic visits to Buenos Aires, knowing that eventually the right time would come to utilize it. I wanted to do a program for violin and piano, which is pretty much a classical ensemble, and it wasn’t easy to find the pieces and the sheet music to do such a program. I discovered some very good arrangements and decided to adapt some other pieces myself, always trying to keep those adaptations simple and not to interfere with the original. Now, after such a long process, when I look back at the titles of the pieces on this album, it is difficult for me to believe that not one of them was originally composed for violin and piano. Fast forward to 2020, I am planning my 3rd Piazzolla CD on the Naxos Label!


I feel that Piazzolla’s music is international. It appeals to me not only as an Argentinean, but also as a classical musician. I hear aggression and madness, the honking, the chaos, the drunkenness, dizziness and the energy of the megalopolis of Buenos Aires. In Piazzolla’s slow melodies, I perceive smoky atmospheres and veiled feelings, vegetative states of mind, wistfulness, nostalgic love…like an old person’s sorrowful reminiscences of a younger love…melodies sung inside a person’s head and at other times sung out loud.


A goal of mine is to authentically recreate the language of the Nuevo Tango in a very instrumental, almost virtuosic way, and at other times through arrangements of utmost simplicity that revive both the violence and sensuality of Piazzolla’s music with the highest possible instrumental performance, recording and acoustic qualities.


Astor Piazzolla was born hundred years ago, but his Nuevo Tango, rooted in traditional Tango but informed by various musical styles, still sounds fresh and modern today.

“recreating the visceral charge of Piazzolla’s legendary quintet concerts and recordings...”

South Florida Classical Review

Tango Nuevo

REPERTOIRE

Astor Piazzolla

Vardarito

Adiós Nonino

Introducción al Ángel

La Muerte del Ángel

Ave María

Yo soy María

Melodia en La

tango en La Menor

Le Grand Tango

Milonga sin Palabras

Fuga y Misterio

Jeanne Y Paul

Balada para un Loco

Histoire du Tango

Aire de la Zamba Niña 

Revirado

Fracanapa

Primavera Porteña

Verano Porteño 

Otoño Porteño

Invierno Porteño

Milonga del Ángel

Escualo

Vibraphonissimo

Concierto para Quinteto

Biyuya

Oblivion

Retrato de Milton

Buenos Aires Hora Cero

Mumuki

Libertango