\nBach & Piazzolla \u2013 two composers who really have nothing in common? The Austria-based Serbian accordionist Nikola Djoric has nevertheless brought them together on one album, creating a soundscape that is thoroughly unfamiliar in the context of Bach. Together with the Kurpf\u00e4lzisches Kammerorchester (Chamber Orchestra Mannheim) under the baton of Hans-Peter Hoffmann, he has recorded Astor Piazzolla\u2019s famous Concerto for bandone\u00f3n, \u201cAconcagua\u201d, along with Bach\u2019s Harpsichord Concertos Nos. 1 & 7. For him, there was one really important aspect in the realisation of this project:
\n\u201cWe recorded this music using a score faithful to the original; nothing at all was changed, this is not a series of arrangements. I play the Bach and Piazzolla scores one-to-one on the accordion, which gives the listener to hear familiar works in different tone colours. Thanks to its ability to sing and its complexity, the instrument exudes an inimitable allure. Just imagine: a wind instrument that plays polyphonically whether the player is breathing in or out and creates the notes in the air, as it were; a keyboard instrument that can phrase notes in the way string players do with their bows, with two different manuals, over 500 notes, 20 stops and a musician who plays using all ten fingers and can breathe freely at the same time \u2013 that is the button accordion: it sings and breathes.\u201d<\/p>\n
That \u201cbreathing\u201d facility is audible after the first few bars. In the original scoring, the Bach Harpsichord Concerto in D minor BWV 1052, probably his most famous, sometimes seems almost mechanical and rushed. Thanks to the melodious tone of the accordion, the work seems to transform into a Bach aria: full of coloratura and rests to take a breath. That makes the realisation of the two Bach works incredibly vibrant and worth listening to. \u201cSince my first encounter with Bach\u2019s music there developed a sense of purity and trust in his works. I was just six years old then and was playing the Minuet in D minor. Over time, I became better acquainted with its spiritual depths and heavenly heights; I admired its beauty and above all its divine character. It\u2019s no secret: this is music about God and mortals. Bach\u2019s entire oeuvre is highly religious \u2013 you hear it in every individual note and in every pause. The special spiritual depth of these works is undoubtedly one of the most beautiful emotions that an artist can experience in music.\u201d <\/p>\n
Astor Piazzolla\u2019s music on the other hand is above all about the relationship between nature and human beings. The Bandone\u00f3n Concerto \u201cAconcagua\u201d is adventurous, romantic, melancholy, powerful, human and above all: versatile. Named after the highest mountain in South America, the work employs a tone-painting approach to the accordion\u2019s playing: we see in our mind\u2019s eye the story of an ascent \u2013 difficult steps, cold ice under one\u2019s feet, brilliant sunshine, and brief memories of love are the impressions evoked on hearing this work. Piazzolla was very good at \u201cpainting\u201d with music \u2013 and how else would you paint the highest peak in Argentina than with a tango?<\/p>\n","protected":false},"excerpt":{"rendered":"
Bach & Piazzolla \u2013 two composers who really have nothing in common? The Austria-based Serbian accordionist Nikola Djoric has nevertheless brought them together on one album, creating a soundscape that is thoroughly unfamiliar in the context of Bach. Together with the Kurpf\u00e4lzisches Kammerorchester (Chamber Orchestra Mannheim) under the baton of Hans-Peter Hoffmann, he has recorded […]<\/p>\n","protected":false},"author":4,"featured_media":1279577,"comment_status":"closed","ping_status":"closed","template":"","format":"standard","meta":{"dmbid":"744925","upc":"885470016573","linkfire":"https:\/\/BC.lnk.to\/BachundPiazzolla","ean":"","genre":"Konzert \/ Soloinstrument mit Orchester","genre2":"Akkordeon","genre3":"","copyright":"","producer":"","playtime":"3544","date":"2021-02-12","dateend":"2099-12-31","trackamount":"9","discamount":"1","artistsname":"","composer":"Astor Piazzolla|Johann Sebastian Bach","teammember":["1009;Nikola Djoric;1576477|1033;Kurpf\u00e4lzisches Kammerorchester;1995756|1022;Hans-Peter Hoffmann;2058610|1010;Astor Piazzolla;1995760|1010;Johann Sebastian Bach;43683"],"teammemberlist":["1576477|1995756|2058610|1995760|43683"],"english":"
\nBach & Piazzolla \u2013 two composers who really have nothing in common? The Austria-based Serbian accordionist Nikola Djoric has nevertheless brought them together on one album, creating a soundscape that is thoroughly unfamiliar in the context of Bach. Together with the Kurpf\u00e4lzisches Kammerorchester (Chamber Orchestra Mannheim) under the baton of Hans-Peter Hoffmann, he has recorded Astor Piazzolla\u2019s famous Concerto for bandone\u00f3n, \u201cAconcagua\u201d, along with Bach\u2019s Harpsichord Concertos Nos. 1 & 7. For him, there was one really important aspect in the realisation of this project:
\n\u201cWe recorded this music using a score faithful to the original; nothing at all was changed, this is not a series of arrangements. I play the Bach and Piazzolla scores one-to-one on the accordion, which gives the listener to hear familiar works in different tone colours. Thanks to its ability to sing and its complexity, the instrument exudes an inimitable allure. Just imagine: a wind instrument that plays polyphonically whether the player is breathing in or out and creates the notes in the air, as it were; a keyboard instrument that can phrase notes in the way string players do with their bows, with two different manuals, over 500 notes, 20 stops and a musician who plays using all ten fingers and can breathe freely at the same time \u2013 that is the button accordion: it sings and breathes.\u201d
\n
\nThat \u201cbreathing\u201d facility is audible after the first few bars. In the original scoring, the Bach Harpsichord Concerto in D minor BWV 1052, probably his most famous, sometimes seems almost mechanical and rushed. Thanks to the melodious tone of the accordion, the work seems to transform into a Bach aria: full of coloratura and rests to take a breath. That makes the realisation of the two Bach works incredibly vibrant and worth listening to. \u201cSince my first encounter with Bach\u2019s music there developed a sense of purity and trust in his works. I was just six years old then and was playing the Minuet in D minor. Over time, I became better acquainted with its spiritual depths and heavenly heights; I admired its beauty and above all its divine character. It\u2019s no secret: this is music about God and mortals. Bach\u2019s entire oeuvre is highly religious \u2013 you hear it in every individual note and in every pause. The special spiritual depth of these works is undoubtedly one of the most beautiful emotions that an artist can experience in music.\u201d
\n
\nAstor Piazzolla\u2019s music on the other hand is above all about the relationship between nature and human beings. The Bandone\u00f3n Concerto \u201cAconcagua\u201d is adventurous, romantic, melancholy, powerful, human and above all: versatile. Named after the highest mountain in South America, the work employs a tone-painting approach to the accordion\u2019s playing: we see in our mind\u2019s eye the story of an ascent \u2013 difficult steps, cold ice under one\u2019s feet, brilliant sunshine, and brief memories of love are the impressions evoked on hearing this work. Piazzolla was very good at \u201cpainting\u201d with music \u2013 and how else would you paint the highest peak in Argentina than with a tango?","imageage":[],"spotify_checked":["16uM8B3FWHkmARi7PP24wu"],"age":[""],"playlist":[""],"alt_text":"","topics":[null],"footnotes":""},"categories":[57,181,22],"dmb-topic-category":[],"class_list":["post-1263559","album","type-album","status-publish","format-standard","has-post-thumbnail","hentry","category-akkordeon","category-album","category-konzert-soloinstrument-mit-orchester","post-wrapper","thrv_wrapper"],"_links":{"self":[{"href":"https:\/\/www.berlin-classics-music.com\/en\/wp-json\/wp\/v2\/album\/1263559","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.berlin-classics-music.com\/en\/wp-json\/wp\/v2\/album"}],"about":[{"href":"https:\/\/www.berlin-classics-music.com\/en\/wp-json\/wp\/v2\/types\/album"}],"author":[{"embeddable":true,"href":"https:\/\/www.berlin-classics-music.com\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.berlin-classics-music.com\/en\/wp-json\/wp\/v2\/comments?post=1263559"}],"version-history":[{"count":10,"href":"https:\/\/www.berlin-classics-music.com\/en\/wp-json\/wp\/v2\/album\/1263559\/revisions"}],"predecessor-version":[{"id":1280513,"href":"https:\/\/www.berlin-classics-music.com\/en\/wp-json\/wp\/v2\/album\/1263559\/revisions\/1280513"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.berlin-classics-music.com\/en\/wp-json\/wp\/v2\/media\/1279577"}],"wp:attachment":[{"href":"https:\/\/www.berlin-classics-music.com\/en\/wp-json\/wp\/v2\/media?parent=1263559"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.berlin-classics-music.com\/en\/wp-json\/wp\/v2\/categories?post=1263559"},{"taxonomy":"dmb-topic-category","embeddable":true,"href":"https:\/\/www.berlin-classics-music.com\/en\/wp-json\/wp\/v2\/dmb-topic-category?post=1263559"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}