Tangazo

1	Adiós Nonino / Orchestre Symphonique de Buenos Aires 8:53
2	Milonga del Ángel / Orchestre Symphonique de Buenos Aires 7:46
3	Double Concerto for Bandoneon and Guitar: I. Introduction / Orchestre Symphonique de Buenos Aires 4:36
4	Double Concerto for Bandoneon and Guitar: II. Milonga / Orchestre Symphonique de Buenos Aires 5:46
5	Double Concerto for Bandoneon and Guitar: III. Tango / Orchestre Symphonique de Buenos Aires 6:37
6	Oblivion / Orchestre Symphonique de Buenos Aires 4:45
7	Tres Movimientos Tanguísticos Porteños: I. Allegretto / Orchestre Symphonique de Buenos Aires 8:13
8	Tres Movimientos Tanguísticos Porteños: II. Moderato / Orchestre Symphonique de Buenos Aires 7:58
9	Tres Movimientos Tanguísticos Porteños: III. Vivace / Orchestre Symphonique de Buenos Aires 4:32
10	Danza Criolla / Orchestre Symphonique de Buenos Aires 2:26
11	Tangazo / Orchestre Symphonique de Buenos Aires 14:10

Barnes & Noble

Many classical instrumentalists -- including Yo-Yo Ma, Gidon Kremer, Emanuel Ax, and the Kronos Quartet -- have fallen passionately in love with the music of Astor Piazzolla, the Argentinian tango master. But few conductors seem to have fallen sway. On this spectacularly vivid recording, Charles Dutoit breaks the pattern, leading the Montreal Symphony in a sampling of Piazzolla's orchestral works, as well as the composer's own arrangements of three well-known tangos. The glitteringly gussied up version of Adiós Nonino misses something of the original's grit, but Milonga del ángel and Oblivion are gorgeously lush -- especially the lovely, liquid oboe playing in the latter. The Double Concerto is possibly Piazzolla's most delicate work, and it is exquisitely done here, with finely shaded solos by bandonéonist Daniel Binelli and guitarist Eduardo Isaac. Tres movimientos tanguísticos porteños offers just the opposite in a densely packed, rhythmically angular score that seems imbued with acrid cigar smoke. The Danza criolla is the closest Piazzolla came to imitating the music of his teacher Alberto Ginastera -- and what a terrific encore piece it could be for an adventurous orchestra. Tangazo is more substantial and even more rewarding -- a melancholy, loving, fierce, and ultimately honest portrait of the composer's beloved Buenos Aires. The performances are ardent and superbly accomplished. Surely Piazzolla would have appreciated the very French sound of the orchestra, given that France played such an important role in his musical life. Strongly recommended. Andrew Farach-Colton

Gramophone

One could not hope for more sympathetic and finely recorded performances than these. Piazzolla's 'voice' remains one of the most distinctive and captivating in all South American art music and it is well served in this magnificent recording. John Duarte