Tango has appeared, and continues to appear in many
guises and settings – long may this state of affairs remain. The works
on this disc have with the exception of the Histoire movement been
arranged by Roberto Daris, who plays accordion as opposed to the more
traditional bandoneon, and a string trio consisting of the conventional
instrumentation: violin, viola and cello.
Purists may argue that “it’s just not the same” on accordion, but I have to say
that the playing of Roberto Daris is stylish and idiomatic, and the average ear
will probably be unaware that there is much difference. The pungency of sound
in the melody lines is there, and Daris lards the music with appropriate bellow
shakes – the instrument’s equivalent of vibrato. The ‘gap’ which exists between
Piazzolla as a player, and any musician’s attempt to create a comparably expressive
musical experience is recognised as a factor in preparing such recordings, and
Roberto Daris is to be respected for his researching attitude toward the tango
repertoire. His accordion certainly allows more extended chordal accompaniments
and flexibility when working bass lines, something which helps a little with
the fairly light accompaniment of the string trio.
The booklet notes consist of some colourful impressions of
tangos past, and Piazzolla’s
idea of the tango as “Folkloric chamber music”, composer and player narrating
the story of the tango as refined and cultured music, if with a past indelibly
associated with impoverished circumstances and dubious morals. Piazzolla’s place
as “a great reformer” is justly acknowledged, bringing the tango into the concert
hall and elevating its status beyond that as an accompaniment for dance.
Cuatro Estaciones Porteñas, which consists
of four movements named after the seasons, captures that
ambiguity which Piazzolla himself recognised: that the essential
meaning of tango is lost once split from the moods and atmosphere
of Buenos Aires. As chamber music it works supremely well,
while the squeaks, scratching on the ‘wrong’ side of the
bridge and tapping on woodwork all preserve the necessary
tango pointers. The arrangement of Café 1930, is the
penultimate of four movements which make up Histoire du
Tango, originally for flute and guitar. There would have
been more than enough space on the disc to have given us
the other three movements. Five Tango Sensations comes
closest to the original version, which was created for the
Kronos string quartet. The trio and accordion preserves the
intimate feel of dialogue and expressive line of the original
while highlighting the lonely monologue of the solo melody.
Unfortunately, it is in this work that one or two question
marks arise concerning intonation in those all too fragile
sustained chords.
In general this is a fine disc, superbly recorded and performed
with sensitivity and an admirable lightness of touch. My
only problem – which I am quite prepared
to admit may well be down to personal taste – is that the ensemble is too light
for some of the music. Cellist Tullio Zorzet does well with the bass lines, but
the cello is essentially a melody instrument, and I miss the real ‘whoom’ and
impact of a double-bass in this setting. The accordion can supply some chords
and bass here and there, but again, the percussive quality and bass thud of a
piano is something this music sometimes demands, to my ears at least.
To sum up, this is a highly enjoyable ‘chamber’ disc of some
typically attractive and characteristic Piazzolla. It will
certainly supplement and adorn any collection
of the art of this kind of tango, but is probably more of a one for reflective
moonlit nights than that of turmoil and smoky grit which brings tears to your
eyes.
Dominy Clements
Roberto Daris (accordion) 
