Part 2

Andrés Gabetta, violin

Mario Stefano Pietrodarchi, bandoneon

Cappella Gabetta


Antonio Vivaldi (1678-1741)
Aus «Le quattro stagioni»:
Concerto for violin F-major op. 8 No. 3 RV 293 «Autumn»

Astor Piazzolla (1921-1992)
Aus «Cuatro estaciones porteñas»:
Otoño Porteño (Autumn)

Antonio Vivaldi (1678-1741)
Aus «Le quattro stagioni»:
Concerto for violin f-minor op. 8 No. 4 RV 297 «Winter»

Astor Piazzolla (1921-1992)
Aus «Cuatro estaciones porteñas»:
Primavera Porteña (Spring)

Roberto Molinelli (1963)
Final Coda

Khaled Mouzanar (1974)
Machkal Suite


Recorded at Saanen Church, 15th July 2018.

Cappella Gabetta: The Seasons by Vivaldi and Piazzolla

There are the seasons in the north and in the south. Andrés Gabetta and his wonderful Cappella Gabetta, together with Bandoneon virtuoso Mario Stefano Pietrodarchi invite us on a journey full of colour, rhythms and emotions. Played on historical instruments, they guide us through Vivaldi’s the Four Seasons and Astor Piazzollas interpretation for Buenos Aires. Mario Stefano Pietrodarchi plays his bandoneon like no other. Next to him is Andrés Gabetta, who is one of the leading baroque violinists of our time and leads the Cappella Gabetta.

Piazzolla: rather a saxophone than a bandoneon

Astor Piazzolla made his mark on South-American music of the 20thcentury and his aura stretches beyond the borders of his native Argentina. He was born in 1921, the son of Italian immigrants in Mar del Plata, 400 km south of Buenos Aires. His tango enthusiast father gives him his first instrument: a bandoneon, the traditional Argentinian accordion. Astor would have preferred a saxophone, as he loved jazz.

The Tango Nuevo Revolution

On day, in the courtyard of his house, he hears somebody playing  a piano. A former student of Sergej Rachmaninov plays a piece by Bach. It is a revelation. In 1954, after had worked in several orchestras in Buenos Aires as a bandoneonist, a dream of his becomes true. He travels to Europe to study with the legendary Nadia Boulanger. Meeting her confirms his destiny: Mademoiselle, as she is called by many, shows him the possibility of using folk tunes as a basis for new ideas and to enrich them with a further developed tone language. This proves to be the guiding star for his life, the revolution of Tango nuevo: a totally new art form, a fruitful combination of jazz, classical music and folk music. His Cuatro estaciones porteñas are an example of this successful combination. It is reminiscent of Vivaldi’s Seasons without being restricted by them. Enjoy the journey Cappella Gabetta and Mario Stefano Pietrodarchi take us on.

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