Who is María? Horacio Ferrer,librettist of this unconventional operita , said that she was a representation of Buenos Aires, embodying the spirit of tango itself. María de Buenos Aires lies outside any known genre. According to Ferrer, its highly poetic libretto was written not to be understood, but to create emotion and atmosphere .Piazzolla's music, too, offers a charged mix of classical forms and Argentinian traditions milonga, tango and the sparring spoken word of the traditional payada. In this,the first major recording since the 1980s, Delphian stalwarts Mr McFall's Chamber are joined by their long-term collaborators Valentina Montoya Martínez and Nicholas Mulroy, narrator Juanjo Lopez Vidal, and internationally acclaimed tango musicians Victor Villena and Cyril Garac.

Join guitar master Artyom Dervoed on a musical journey featuring the timeless works of Astor Piazzolla and Cacho Tirao, brilliantly reimagined for guitar and orchestra. This monumental recording showcases the unparalleled talent of one of today’s greatest guitar players. Be among the first to experience world-premiere recordings of new transcriptions, including “Suite del Angel”, “Histoire du Tango”, and the iconic “Libertango”. Immerse yourself in the passion and rhythm of tango as you embark on this unforgettable musical adventure with Artyom Dervoed.

Astor Piazzolla’s Nuevo tango transcends categories and represents an amalgam of international influences. All the arrangements in this album are of instrumental works that Piazzolla composed for his Quinteto Nuevo Tango. Most prominent is the Vivaldi-inspired Las cuatro estaciones porteñas (‘The Four Seasons of Buenos Aires’) reimagined in concerto style for solo violin and string orchestra by Leonid Desyatnikov. The seven other companion pieces, arranged by Ken Selden, use printed sources for structure but incorporate improvisations transcribed from original recordings made by Piazzolla and his band. On this, his third Piazzolla album for Naxos, internationally recognised violinist Tomás Cotik pays homage to his birth city of Buenos Aires.

In TintoTango Plays Piazzolla we find ourselves riding along a musical journey. Through these musical pieces we travel around neoclassical landscapes, beautiful and delicate melodies fly above us, surrounded by free-flowing solos and colored brushstrokes of extended contemporary techniques.

Friedrich Kleinhapl was immediately impressed by Astor Piazzolla's Le Grand Tango, his only original composition for cello and piano. The idea of combining South American temperament with European depth and a classical conception of sound ultimately resulted in the album program Pasion Tango for cello and piano (ARS38161). The next step was a logical continuation: tangos again with cello, but this time with a classical orchestra, in order to explore the tonal and emotional potential even more deeply - the result is a Gran Pasion Tango!

Tango accordion has a clear icon in the late Astor Piazzolla, but these days Richard Galliano is making a strong case for being the premier jazz accordionist. He's as lyrical as one needs, swings like mad, or brings tempos down to a sensual jog with passion and soul. When called upon, he can play a gut-wrenching tango or two himself. For this effort he's joined by two different crack rhythm sections, the brilliant Jean-François Jenny-Clark and Daniel Humair (seven tracks), or the slightly cut below Remi Vignolo and Andre Ceccarelli (four tracks), bass and drums respectively. It's not hard to hear a distinctly French but improvisationally Americanized sound. The lone standard, "You Must Believe in Spring", is one of many waltzes, but this one jumps from second to fifth gear, Galliano rapidly flying through the changes. The title track is also quick, with "Augusta" more a sprightly 3/4, while "L'Envers du Décor" is an easier modal three beat. Nods to Brazilian Hermeto Pascoal are heard on his composition "Bébé" and the mallets on drums and heavy conga beat-based fanfare and theme of "Passarinho".

Too few will have been able to live up to this statue during his lifetime, remaining only on the surface when this multi-faceted personality invites a much more complex reading. It is this Himalayas that Louise Jallu dared to climb. Far from sinking into the pale copy, Louise Jallu adds her comments, notably opening up spaces for improvisation, even if it means taking the side of a certain irreverence to show all the more deference towards the Argentinean. History to stick to the singular post-modernity that inhabited his work. As a matter of course.

Passion. Music. Emotion. Dance… Tango. Never before has a dance been so closely identified with the concept of the Tango. They say it takes two to Tango and this is very true within the sounds of Otros Aires' The New Sound of Tango - Modem Tango for the 21st Century. The music is a perfect blend of the classic sounds meets the new modern textures. Otros Aires blend modem ambient rhythms mixed with the classic sultry sounds of Argentine Tango. You can play this record at a party, at home alone, while drinking coffee on Sunday morning or when you and your lover are about to Tango!

Guitarist Al di Meola has been alternating electric and acoustic projects for the past few years. For this acoustic affair, he teams up with Dino Saluzzi on bandoneon to pay tribute to tango master Astor Piazzolla. The music (even a duet version of "Someday My Prince Will Come") has the flavor of Argentina and uses a wide variety of instrumentations, including an occasional string section and the voice of Hernan Romero. It's recommended to lovers of world music, the modern tango, and those who think of di Meola's guitar playing as being one-dimensional and purely based on speed.

Pianist and composer Håkon Skogstad releases his new album, 8 Concepts of Tango, the sequel to Norwegian Grammy-awarded Visions of Tango from 2021. The album is the third installment of Skogstad’s tango trilogy, where the aim has been to develop a new musical style in the wake of Astor Piazzolla. On 8 Concepts of Tango, Skogstad performs in the company of seven hand-picked musicians - all experts in the Argentine tango/classical music segment.

Often referred to as 'Electronic-Milonga' or 'neo-tango' and founded in 2003 in Barcelona by Argentine musician Miguel Di Genova, with Emmanuel Mayol, Omar Massa and Diego Ramos making up the band. They reference the classic tango artists from the 1920's and 30's, such as Gardel, Razzano and D'Arienzo for their inspiration and source. But it's what they do to it that brings it kicking and screaming into the 21st century - in exuberant fashion - that makes it such great new music. You will certainly hear samples of Carlos Gardél's 1930s vocals, with Astor Piazzolla's accordian thrown in to the mix. This second album and their debut were smash hits in Argentina and although they could be difficult to find, they're well worth the effort.

Latvian violinist Gidon Kremer's 2000 release Eight Seasons is a conceptual masterwork. Kremer, long known for his skillful interpretations of Astor Piazzolla's Argentinean tangos, had the brilliant idea of matching four of the Latin master's tone poems of the seasons in his native Buenos Aires with Antonio Vivaldi's conceptually similar masterpiece "The Four Seasons," alternating seasons between the two works. Besides the conceptual perfection of the idea, the performances are exquisite. Kremer and his conservatory orchestra, the Kremerata Baltica, do a particularly masterful job with the Vivaldi, avoiding the ornate bloat that affects so many recordings of this work. Their performances are brisk and to-the-point, with bright tempos that add a vitality not often found in this rather shopworn old standard. As always, Kremer's solos in the Piazzolla works are absolutely superb, with the dramatic flourishes of the massed string section providing startling counterpoint, especially on the breathtaking "Verano Porteno". Eight Seasons is a truly remarkable work by an underrated performer.