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Astor Piazzolla, Gustavo Beytelmann: Encuentro

Piazzolla / Beytelmann / Caliente Quartet
Release Date: 06/14/2011 
Label:  Aeon   Catalog #: 1107   Spars Code: DDD 
Composer:  Astor PiazzollaGustavo Beytelmann
Performer:  Laurent ColombaniQuatuor CalienteVincent Maillard
Orchestra/Ensemble:  Quatuor Caliente
Number of Discs: 1 
Recorded in: Stereo 
Length: 1 Hours 4 Mins. 

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Notes and Editorial Reviews

"This disc is for those who do not need any introduction to Astor Piazzolla. It contains four pieces by the maestro and three more by the Argentinean composer Gustavo Beytelmann. All can be put under the title " Advanced Nuevo Tango".
The three Camorras are dark and dense. They mix two main types of Piazzolla's tango music: the "wild and crazy", and the "pure and heartfelt". Many elements sound familiar. The Quatuor Caliente is rather good in both the aggressive Sturm und Drang outer parts, as well in the heart-throbbing, supple and expressive internal episodes - especially when the violin takes the lead. The first Camorra does not really work
Read more out here, I'm afraid. It comes out quite mechanical. This is due to the hard sound of the piano and especially of the bandoneon, and to the unimaginative repetition. Also, if the lyrical episodes were not so rushed, there would be more breath and more soul in them. Camorra II is one of Piazzolla's grand tangos, and the Calientes are very good in conveying its demonic urgency. Camorra III is the most diverse of the three, and the most beautiful. Between small thunderstorms of the entire ensemble, jazzy and agitated, we have expressive cadence-like slow episodes led by the violin and the piano. This is evening music, improvisatory and melancholic, and resembles Adios Nonino.
Contrabajissimo is impressive. Piazzolla's own version with The New Tango Quintet on Nonesuch is sharper, angrier and, in my eyes, not yet surpassed. Where Piazzolla is agile and full of action, the Caliente has more power, but is more predictable. Still, each has the power to impress.
The Piazzolla star is so bright that nuevo tango is still more a style than a real genre. Many composers that have followed Piazzolla hook up to the tail of his comet. It is very difficult to get rid of his influence - some do it with great effort, some are happy to remain with the comet's tail. The three works of Gustavo Beytelmann show differing degrees of detachment from the Piazzolla influence. Encuentro could have been written by Piazzolla himself. It has episodes with beautiful cadences for the violin and the guitar. The mood is nocturnal, chilly, tranquil, concentrated.
Otras voces is much more cerebral. The Piazzolla influence is less immediate although it can still be seen as a distant branch of the Tango tree. It is interesting to watch how the composer takes elements of tango and builds music which is quite advanced. To really enjoy this work, you must immerse yourself in it, absorb it, ride with it. Be prepared: this ride will be bumpy. Some places left me cold - for example, the final stretch does not seem convincing - some were enthralling. Give it a few tries, and it will probably get you on the hook.
El desaparecido brings us back, closer to the trunk of the tree. The mood is cold and foggy. There are tranquil evening episodes, where the violin and the bandoneon share the singing, and more urgent ostinato moments with sharp, pointed rhythms. Nothing radically new is added to the Piazzolla building blocks. The work has its architecture; you can feel it. It's like entering different rooms of a house: they are different, but you feel that they were furnished by the same designer. The aftertaste is comparable with that of one of Piazzolla's Seasons of Buenos Aires. An attractive work, though derivative.
As a whole this album is more for those who already know and love Nuevo Tango, for those who want to dig deeper. Definitely not for Piazzolla beginners or as an introduction to the genre. The sound is well recorded - maybe a bit too close. I had the impression that the sound engineer wanted to reproduce the “sandpaper” feeling of Piazzolla’s own recordings. The violin playing of Michel Berrier is absolutely superb. It is completely inside the idiom, sensitive and beautiful."

-- Oleg Ledeniov, MusicWeb International
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Works on This Recording

La camorra I, tango by Astor Piazzolla
Performer:  Laurent Colombani (), Laurent Colombani (Guitar), Quatuor Caliente ()
Orchestra/Ensemble:  Quatuor Caliente
Period: Modern 
Written: ?1989 
Length: 9 Minutes 48 Secs. 
La camorra II, tango by Astor Piazzolla
Performer:  Laurent Colombani (Guitar), Quatuor Caliente (), Laurent Colombani ()
Orchestra/Ensemble:  Quatuor Caliente
Period: Modern 
Written: ?1989 
Length: 7 Minutes 20 Secs. 
La camorra III, tango by Astor Piazzolla
Performer:  Quatuor Caliente (), Laurent Colombani (Guitar), Laurent Colombani ()
Orchestra/Ensemble:  Quatuor Caliente
Period: Modern 
Written: ?1989 
Length: 11 Minutes 4 Secs. 
Encuentro, tango by Gustavo Beytelmann
Performer:  Quatuor Caliente (), Laurent Colombani (Guitar), Laurent Colombani ()
Orchestra/Ensemble:  Quatuor Caliente
Length: 9 Minutes 17 Secs. 
Otras voces, tango by Gustavo Beytelmann
Performer:  Quatuor Caliente (), Vincent Maillard (Vibraphone), Vincent Maillard ()
Orchestra/Ensemble:  Quatuor Caliente
Length: 8 Minutes 50 Secs. 
El desaparecido, tango by Gustavo Beytelmann
Performer:  Quatuor Caliente ()
Orchestra/Ensemble:  Quatuor Caliente
Length: 7 Minutes 45 Secs. 
Contrabajissimo by Astor Piazzolla
Performer:  Quatuor Caliente (), Laurent Colombani (Guitar)
Orchestra/Ensemble:  Quatuor Caliente
Period: 20th Century 
Written: Argentina 
Length: 10 Minutes 13 Secs. 

Sound Samples

La Camorra: I. -
La Camorra: II. -
La Camorra: III. -
Otras voces
El desaparecido

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