{"id":8302,"date":"2017-11-10T11:29:27","date_gmt":"2017-11-10T19:29:27","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=8302"},"modified":"2017-11-10T11:29:27","modified_gmt":"2017-11-10T19:29:27","slug":"video-pick-of-the-week-leo-brouwer-plays-piazzollas-la-muerte-del-angel","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/video-pick-of-the-week-leo-brouwer-plays-piazzollas-la-muerte-del-angel\/","title":{"rendered":"Video Pick of the Week: Leo Brouwer Plays Piazzolla&#8217;s &#8216;La muerte del \u00e1ngel&#8217;"},"content":{"rendered":"<p>The cool, mysterious opening of <a href=\"http:\/\/www.piazzolla.org\/biography\/biography-english.html\" target=\"_blank\" rel=\"noopener\">Astor Piazzolla<\/a>&#8216;s <em>La muerte del \u00e1ngel<\/em> has been going through my head since earlier this week, when I was listening semi-obsessively to a version on Zoran Dukic&#8217;s excellent new album, <em><a href=\"https:\/\/www.guitarsalon.com\/store\/p5317-zoran-dukic--bach-piazzolla.html\" target=\"_blank\" rel=\"noopener\">Bach\u2013Piazzolla<\/a>.<\/em>\u00a0Then I stumbled across this interpretation by Leo Brouwer performing his own arrangement of the piece (which is the one Dukic plays). Brouwer is so famous as a composer and arranger that it&#8217;s easy to forget that he was a splendid player in his prime, too.<\/p>\n<p>As for the work itself, writer James Reel noted: &#8220;This is the climactic piece\u00a0Piazzolla\u00a0provided 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. &#8221; 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>\u2014<\/em><em>Milonga<\/em>\u00a0<em>del\u00a0\u00e1ngel\u00a0<\/em>(gorgeous on the Dukic disc) 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&#8217;m sure the list goes on. But it works beautifully on guitar, so check out Brouwer playing his own arrangement. I haven&#8217;t been able to determine what year this performance is from.<br \/>\n<em>\u2014Blair Jackson<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The cool, mysterious opening of Astor Piazzolla&#8216;s La muerte del \u00e1ngel has been going through my head since earlier this week, when I was listening semi-obsessively to a version on Zoran Dukic&#8217;s excellent new album, Bach\u2013Piazzolla.\u00a0Then I stumbled across this interpretation by Leo Brouwer performing his own arrangement of the piece (which is the one Dukic plays). Brouwer is so famous as a composer and arranger that it&#8217;s easy to forget that he was a splendid player in his prime, [&hellip;]<\/p>\n","protected":false},"author":11,"featured_media":8305,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"video","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":[6,7],"tags":[],"class_list":["post-8302","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-news","category-watch","post_format-post-format-video"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2017\/11\/Brouwer.jpg?fit=480%2C360&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/8302","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=8302"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/8302\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/8305"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=8302"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=8302"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=8302"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}