Two Gorgeous, Rare Accordion Concertos to Celebrate an Icon
In celebration of the Astor PIazzolla centenary, classical accordionist Jovica Ivanović and the Ukrainian Chamber Orchestra have released a whole album of two of the rarest pieces in the symphonic repertoire: the accordion concerto.
Titled Piazzolla and Galliano, it features majestic works by the iconic Argentine bandoneonist and also by the great Richard Galliano and is streaming at Spotify. Both pieces are absolutely gorgeous and meticulously performed. That both soloist (Ivanovic is Serbian) and orchestra come from accordion-rich cultures might have something to do with it. In a smart bit of programming, the decision to program these two works together, rather than Piazzolla and rehashed Piazzolla from one of his innumerable acolytes, pays off mightily.
Ivanović and the ensemble open with Piazzolla’s Aconcagua, which begins with an insistent but light-footed pulse, staccato accordion matched by the strings and spiced with sweeping piano cascades. The first accordion solo is characteristically dynamic: echoey but traditionally tangoesque, then when the orchestra drop out Ivanović gets to show off some jaunty lyricism. The group bring back an elegant sweep that never lets up no matter how turbulent the music grows.
Ivanović takes his time with a sagacious, reflective solo to open the moderato second movement. Again, the balance between judicious piano and lush strings is striking, even as Ivanović bring back the delicately dancing introductory theme. They attack the gusty concluding movement with a similar dynamism, its bracing chromatic moments, bursting rhythms and momentary detours into wistfulness.
The opening movement of Galliano’s Opale Concerto is marked allegro furioso: Ivanović’s machete accents and icepick staccato contrast with the looming unease and Tchaikovskian color from the orchestra, as well as his rapidfire lines over a catchy, anthemic bassline from massed low strings.
The lyrical variations, artful echo effects and bittersweetly reflective moments diverge momentarily toward a brooding tarantella in the moderato malinconico second movement: it’s arguably the album’s most captivating interlude. Ivanović and the orchestra provide an air-cushioned ride over some pretty rocky terrain as the coda descends to a nocturnal grandeur, and then a final salute which is the only place where the Piazzolla influence cannot be denied. What an impact he made, and it’s still resonating almost thirty years after we lost him.