The notes to this release by the ensemble
Escualo5 rightly point out that the imprint of
Bach is strong in
Astor Piazzolla's music, and one way the similarity manifests itself is in the malleability of both composers' works to arrangement for new combinations of instruments. Since the revival of
Piazzolla's music began in earnest in the late '90s, he has been heard in almost every conceivable medium, from flute and guitar to full symphony orchestra. Re-creations of
Piazzolla's original quintet of bandoneon, violin, guitar, piano, and double bass have appeared as well, some of them from
Piazzolla's Argentine followers. Listeners may see that lineup in the graphics for this release by the ensemble
Escualo5 and might conclude that it's a neo-traditional experiment, but that's not really what's happening. First, note that keyboardist
Alexander Kuralionok uses not the bandoneon but the more powerful accordion, and he is matched by a big, virtuoso sound from the other players. Several of the pieces are arranged for new combinations, the
Tango Suite for guitar and piano, and the
Histoire du Tango, the masterful tracing of tango styles since 1900, for accordion, guitar, and double bass. The biggest thing is that without violating
Piazzolla's musical texts, the group brings to his music a new and intense spirit. It is as if, having been established as part of the classical canon,
Piazzolla's music is now subject to what has been called the chain of interpretation. It's a tremendously exciting release, consisting of
Piazzolla standards like the
Primavera Portena from the
Cuatro Estaciones Portenas and lesser-known pieces like
Fracanapa;
Escualo5 adds something new to every single one, and the album will appeal to heavy
Piazzolla collectors and newbies alike. ~ James Manheim
