The Piazzolla family had emigrated from Argentina to Manhattan when Astor was four years old, and here the gifted boy got caught up in the rough street scene while at the same time absorbing numerous musical expressions from the lush neighborhood.
The legendary tango reformer Carlos Gardel discovered Piazzolla and invited him to tour, but then his father said no: the tour company was not for 13-year-olds. Gardel and the whole orchestra died in a plane crash on that tour. Later, Piazzolla would become the new, great tango novelist after Carlos Gardel: he is the founder of the passionate Tango Noevo, who definitely moved the tango out of the lucky tricks and into the concert halls. The Tangosuit Cuatro Estación Porteñas for Violin and Orchestra is, like much of Piazzola's music, traditional tango in classical frames: The work is built over Vivaldi's violinist 'The Four Seasons', which sets out the summer, autumn, spring and winter of the Argentine capital Buenos Aires .
Beethoven's Pastoral Symphony (No. 6) was written about the same time as the outgoing Destiny Symphony (No. 5), and hardly anywhere along the musical history's broked lifeline, there are two successive works in such a big contrast to each other. Where No. 5 is an aggressive settlement with destiny and all its being, the Pastorale Symphony offers idyllic insights from Beethoven's hikes on forest trails around Vienna.
It begins in a quiet F major, then we slide in between the trees on a picturesque road and let the senses bathe in summer heat without the orchestra raising the voice worth mentioning. Eventually we stop by a small stream, we hear the birds sing and watch the villagers sing and dance in a joyful team. Suddenly we must seek shelter for an unexpected thunderstorm. But soon the sun sets forth again, attracting shepherds and shepherds blowing in their horns, happy that the storm is over and the idyll is restored.