What does this music have that he like it so much?
Would it be that it keeps the memory and arouses in music the histories of the South?
Young Piazzolla got paralyzed and speechless when he was introduced to the young Stravinsky in Paris. Years after, old Stravinsky asked Lalo Schifrin (they lived in the same New York neighborhood) to play for him the music of “that lad”.
This music that we like so much, that brings together classic refinement and the strength of the popular, this concert program that walks through our lives, is what we pretend to share with the audience.
The four composers whose works are presented in this program are main actors of two complementary processes: the process of refinement of popular music in South America and the revitalization of one of the universal streams of contemporary music.
They are heirs and followers at the same time of the revolutionary new folklorism of Stravinsky, Bartók or De Falla, and they lived as well the volcanic social transformations that occurred in the XXth century.
This unusual versions for trio of cello, guitar and accordion are obviously transcriptions or better said, recreations of the original works: Contrabajeando, for tango orchestra and double-bass solo; Bachianas, for cello orchestra and soprano; Canción, for piano; Historia, for flute and guitar; Serie, for guitar. This option we have chosen is not aleatory or impertinent. We believe that the versatility of our not standard group, the richness of tones and musical resources, can go really deep and transmit with an amazing spectrum of possibilities the spirit of these works with many sides.