Become a member and get exclusive access to articles, live sessions and more!
Start Your Free Trial

Gidon Kremer: Maria de Buenos Aires

In the years since his death in 1992, new tango king Astor Piazzolla’s reputation has soared, propelled by the momentum of reissues of Piazzolla’s own recordings as well as a flow of tributes by musicians intrigued into the service of his music. Last year, Gary Burton, who had worked with Piazzolla years back, paid homage. One of Piazzolla’s prime champions from the classical world has been the famed violinist Gidon Kremer, who has recorded tributes, and now has expanded our appreciation with Maria de Buenos Aires (Teldec 3984-20632; 48:42 and 45:45), an illuminating production of a little-known 30-year-old “operita,” with a libretto by Horacio Ferrer.

Kremer writes in the liner notes that he became obsessed with the project last year, and that the production of the work, represented in this fascinating two-CD set, has potent meaning for him. He writes: “I have recorded all the sonatas of Beethoven, Brahms, and Schumann, all the Mozart concertos and virtually all of Schnittke’s concertos. But Maria occupies a special place in my life, just as it occupies a special place in musical theater.” That place is in the margins of theatrical convention, alongside such works as Stravinsky’s L’Histoire du Soldat.

Start Your Free Trial to Continue Reading

Become a JazzTimes member to explore our complete archive of interviews, profiles, columns, and reviews written by music's best journalists and critics.
Originally Published