{"id":15845,"date":"2021-03-04T09:23:27","date_gmt":"2021-03-04T17:23:27","guid":{"rendered":"https:\/\/classicalguitarmagazine.com\/?p=15845"},"modified":"2021-03-09T15:57:34","modified_gmt":"2021-03-09T23:57:34","slug":"video-pick-of-the-week-margarita-escarpa-plays-brouwers-arrangement-of-piazzollas-la-muerte-de-angel","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/video-pick-of-the-week-margarita-escarpa-plays-brouwers-arrangement-of-piazzollas-la-muerte-de-angel\/","title":{"rendered":"Video Pick of the Week: Margarita Escarpa Plays Brouwer&#8217;s Arrangement of Piazzolla&#8217;s &#8216;La muerte del \u00e1ngel&#8217;"},"content":{"rendered":"\n<p>It&#8217;s been a while since we&#8217;ve posted anything by the great Spanish guitarist <a rel=\"noreferrer noopener\" href=\"https:\/\/www.naxos.com\/person\/Margarita_Escarpa\/195.htm\" target=\"_blank\">Margarita Escarpa<\/a>, who has long been a favorite of mine. This video from a 2016 performance really shows this gifted guitarist at her best: a brilliant and commanding performance of Leo Brouwer&#8217;s arrangement of Astor Piazzolla&#8217;s <em>La muerte del \u00e1ngel<\/em>. If you&#8217;ll indulge me, I&#8217;ll revisit something I wrote a few years ago about the piece:<\/p>\n\n\n\n<p>As for the work itself, writer James Reel noted: \u201cThis is the climactic piece Piazzolla provided for his incidental music to the 1962 Alberto Rodriguez Mu\u00f1oz play <em>Tango del \u00e1ngel<\/em>, in which an angel heals the spirits of the residents of a shabby Buenos Aires neighborhood, but is ultimately killed in that most Argentine of pastimes, a knife fight. \u201d Piazzolla himself played the piece for many years (usually in a quintet, with him on bandoneon), occasionally in a suite along with two other tunes from the Mu\u00f1oz play<em>\u2014Milonga<\/em>\u00a0<em>del\u00a0\u00e1ngel\u00a0<\/em>and <em>Introducci\u00f3n del<\/em>\u00a0<em>\u00e1ngel\u2014<\/em>plus\u00a0an uplifting fourth work penned in 1965, <em>Resurrecci\u00f3n del\u00a0\u00e1ngel. <\/em>Like so many Piazzolla works, it has been arranged for many different instruments and configurations through the years, including solo piano, piano and string orchestra, three pianos, four cellos; I\u2019m sure the list goes on.<\/p>\n\n\n\n<p>Escarpa was the 1994 winner of the GFA competition and has enjoyed a fine career as both a performer and teacher.  \u2014<em>Blair Jackson<\/em><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Margarita Escarpa plays A. PIAZZOLLA (1921- 1992)\/ L. BROUWER (1939): La muerte del \u00e1ngel\" width=\"1170\" height=\"658\" src=\"https:\/\/www.youtube.com\/embed\/Al2oFhb1FY4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>It&#8217;s been a while since we&#8217;ve posted anything by the great Spanish guitarist Margarita Escarpa, who has long been a favorite of mine. This video from a 2016 performance really shows this gifted guitarist at her best: a brilliant and commanding performance of Leo Brouwer&#8217;s arrangement of Astor Piazzolla&#8217;s La muerte del \u00e1ngel. If you&#8217;ll indulge me, I&#8217;ll revisit something I wrote a few years ago about the piece: As for the work itself, writer James Reel noted: \u201cThis is [&hellip;]<\/p>\n","protected":false},"author":11,"featured_media":15848,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[7],"tags":[],"class_list":["post-15845","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-watch"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2021\/03\/escarpa-e1614878550890.jpg?fit=800%2C450&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/15845","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/comments?post=15845"}],"version-history":[{"count":2,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/15845\/revisions"}],"predecessor-version":[{"id":15888,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/15845\/revisions\/15888"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/15848"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=15845"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=15845"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=15845"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}