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Astor PIAZZOLLA (1921–1992) Richard Galliano – Solo
Ballet Tango [12:05]: Introduction – La cite [3:21]; L’Amour [2:58]; Cabaret [1:28]; Solitude [2:33]; Grand
final [1:44]; Chiqulin de Bachinm [3:05]; Adios Noniño [5:12]; Pedro y Pedro [5:13];
Ledia’s Game [3:48];
Flora’s Game [7:46];
Sunny’s Game [3:18];
Oblivion [3:36]
Richard Galliano
(bandonéon, accordion)
rec. 1992 WARNER MILAN 399044-2 [44:29]
Richard Galliano (b. 12
December 1950), was born in Nice, but his father, who was
an accordionist, came originally from Italy. Young Richard
studied trombone, harmony and counterpoint at the Academy
of Music in Nice. At the age of 14 he started listening to
jazz, where especially Clifford Brown’s improvisations made
a deep impression. He has collaborated with many great musicians
from various genres and is regarded as one of the most influential
accordionists in the world. My first acquaintance with his
music dates from about two years back when a young Swedish
accordionist wanted to play a piece by Galliano at a concert
with my local symphony orchestra; I was fascinated by his
music. When this disc popped up on the latest request list
to the reviewers, I believed it contained more of his compositions
but it turned out that he devoted the whole disc to the music
of Astor Piazzolla, whom he knew and was inspired by. At
the time of the recording, in 1992, Piazzolla had been in
a deep coma in Buenos Aires for almost
two years ; he never recovered. This disc
is in effect a homage to Piazzolla – and a beautiful
and moving one at that.
Technically the greater
part of the disc is produced through surimpression - Galliano
has recorded all the parts for bandonéon and/or accordions
in multi-channel technique, so the title Solo is apt,
even though by and large it is ensemble music. Pedro y
Pedro and the three piano preludes (trs. 5–7) are the
exceptions, where he actually plays solo, the three preludes
arranged for accordion by Galliano on demand from Piazzolla.
As an interpreter Galliano
is a true master, playing with enormous virtuosity and rhythmic
flair in the opening of the five-movement Ballet Tango. It
is also highly colourful music where he sometimes tempts
his instrument to sound like a musette - airy, transparent.
The short Cabaret is a real swinger, while Solitude evokes
a smoky bar in the wee small hours.
Chiquilin de Bachin is melancholy, melodic, slow and yearning. Adios
Noniño is
rhythmic but also has a catchy main theme around which he
elaborates embellishments.
Melancholy permeates the
tango, whether it comes from Latin America or Finland, two
strongholds of tango that really are, geographically, poles
apart. The final piece on the disc, Oblivion, has
all the essential ingredients: it’s slow, relaxed, melancholy
but with a pulse that has it always on the move. Although
Piazzolla’s tangos rarely are intended for dancing one can
imagine well-trained couples sliding across the floor.
Never being a dancer,
tango has always fascinated me for listening and in the company
of Astor Piazzolla and with Richard Galliano as the ideal
guide, this disc certainly adds something to the many-faceted
picture of the dance.
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