Gabriel Castagna, Wurttemberg Philharmonie Reutlingen - Astor Piazzolla: Symphonic Works (2003)
Astor Piazzolla - Tangazo; Tres Movimientos; Milonga Del Angel; Sinfonietta (2003)
Württemberg Philharmonie Reutlingen, conducted by Gabriel Castagna
XLD | FLAC | Tracks (Cue&Log) ~ 258 Mb | Mp3 (CBR320) ~ 141 Mb | Scans included
Genre: Classical | Label: Chandos | # CHAN 10049 | Time: 00:57:12
Württemberg Philharmonie Reutlingen, conducted by Gabriel Castagna
XLD | FLAC | Tracks (Cue&Log) ~ 258 Mb | Mp3 (CBR320) ~ 141 Mb | Scans included
Genre: Classical | Label: Chandos | # CHAN 10049 | Time: 00:57:12
The highlight of the Chandos disc is a real rarity, the 1953 Sinfonietta written as a fruit of Piazzolla’s studies with Ginastera prior to his trip to Nadia Boulanger in Paris. Vigorously rhythmic (as one might expect), the three spans are dramatic, sober and jubilant by turns, even if the melodies do lack the distinctive Piazzolla sound. It’s a well-constructed work, though, and Gabriel Castagna’s account is full of verve.
One early, discarded, title of Tres movimentos tanguisticos porteños (1963, ‘porteños’ signifies a native of Buenos Aires) called the movements ‘symphonic tangos’ – stretching a point, perhaps, but less than one might imagine. Tangazo, subtitled ‘Variations on Buenos Aires’, is also a remarkable fusion of tango within a picturesquely symphonic idiom. The arrangement of the wistful Milonga del angel (it is not stated whose version it is) rounds out a fine programme. If the Württemberg orchestra possess neither the mellifluous sound, nor beauty of string tone, of Dutoit’s Montreal band, they have a crispness of attack that suits the music well. While I prefer Dutoit to Castagna in Tres movimentos, Josep Pons’s pioneering 1996 account has more bite than either (although the playing is less refined). In Tangazo honours are even. If Castagna’s accounts have a drawback, it is in the slightly over-prominent percussion.Review by Guy Rickards, Gramophone
Since the death of Astor Piazzolla in 1992, the popularity of his music has increased exponentially, and his works continue to appear on disc in countless arrangements for all manner of instrumental forces.
This recognition of the very special talent of one of the finest composers to have emerged from Latin America is well deserved - Piazzolla's melodic and harmonic gifts have an expressive potency all their own - but the way in which this burgeoning popularity has sometimes ridden rough-shod over the fine distinctions within his output is less welcome.
Piazzolla is credited with the reinvention of the tango, the century-old dance form endemic to Spanish-speaking America in general and to his native Argentina in particular, and, from the late-1950s onwards, for finding a new audience for that music.
But what is so fascinating about Piazzolla's development is the way that, from the start of his career, he straddled both art-music and dance cultures.
As a child he learnt to play the bandoneon, the special Latin form of the accordion, and from the age of 17 was a sought-after member of many of the leading tango bands in Buenos Aires.
His idol as a teenager was the great Argentinian songwriter Carlos Gardel, but he was fascinated by the the classical tradition too, and by Bach especially, and so took composition lessons with Alberto Ginastera, who introduced him to the music of Stravinsky and Bartok.
Piazzolla then won a scholarship to go to Paris to study with Nadia Boulanger, taking with him a whole portfolio of worthy orchestral pieces. It was Boulanger though who, belying her historical image as a hardline neoclassicist, recognised that Piazzolla's real gifts were very special and unclassifiable, and suggested that he return home to discover what the tango could offer.
The rest, as they say, is history: with his harmonic and rhythmic sophistication, Piazzolla revived a dance form that was dying on its feet, and with his own band, which went through numerous incarnations but always spotlighted its leader's acerbic bandoneon, he spread the gospel of tango nuevo around the world.
Yet he never quite cut his links with the concert hall; he continued to compose orchestral pieces and this very decently played collection is that rare thing nowadays, a Piazzolla disc in which everything is heard exactly as it was written, even if Milonga del Angel is the composer's own hazily sensuous orchestration of a piece that he first made famous with his sextet.
The roots of Piazzolla's "classical" style are clear in the Bartokian opening of the 1969 Tangazo, a set of variations in which he also finds ingenious orchestral equivalents for the spiky dissonances that characterised his own bandoneon playing.
In the set of three tangos he called Tres Movimientos Tanguisticos Portenos (1961), the treatment of the infinitely suggestive themes has a Stravinskian tang, while the Sinfonietta was one of the pieces Piazzolla took with him to Paris.
It's a bit too close to the music of his teacher Ginastera for my taste, but still fascinating as the starting point for a music that was to become so pungently personal.Review by Andrew Clements, The Guardian
Gabriel Castagna, Wurttemberg Philharmonie Reutlingen - Astor Piazzolla: Symphonic Works (2003)
Tracklist:
1. Tangazo - Variations on Buenos Aires for Orchestra (14:32)
2. Tres movimientos tanguisticos portenos - I. Tango No.1. Allegretto - Meno mosso e pesante (07:10)
3. Tres movimientos tanguisticos portenos - II. Tango No.2. Moderato - Poco piu mosso - Poco piu mosso, ritmo de milonga - Tempo I (08:33)
4. Tres movimientos tanguisticos portenos - III. Tango No.3. Vivace Fuga (04:28)
5. Milonga del Angel (06:44)
6. Sinfonietta, for Chamber Orchestra - I. Dramatico. Allegreto marcato, un poco pesante (05:41)
7. Sinfonietta, for Chamber Orchestra - II. Sobrio. Andantino - Poco piu mosso - Tempo I (06:11)
8. Sinfonietta, for Chamber Orchestra - III. Jubiloso. Vivace (03:51)
X Lossless Decoder version 20130720 (144.0)
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Gabriel Castagna & Wurttembergische Philharmonie Reutlingen / Piazzolla Symphonic Works
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XLD extraction logfile from 2013-10-20 15:44:26 +0200
Gabriel Castagna & Wurttembergische Philharmonie Reutlingen / Piazzolla Symphonic Works
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log date: 2016-06-04 12:44:17
––––––––––––––––––––––––––––––––––––––––
Analyzed: Gabriel Castagna & Wurttembergische Philharmonie Reutlingen / Piazzolla Symphonic Works
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
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log date: 2016-06-04 12:44:17
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Analyzed: Gabriel Castagna & Wurttembergische Philharmonie Reutlingen / Piazzolla Symphonic Works
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================================================================================
Gabriel Castagna, Wurttemberg Philharmonie Reutlingen - Astor Piazzolla: Symphonic Works (2003)
