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| Reviews of 'Tango, Milonga Y Final' |
Classical Guitar Magazine March 2007Classical Guitar Magazine March 2007TANGO, MILONGA Y FINAL MAXIMO DIEGO PUJOL: Un Domingo en La Boca; Palermo; Truco Suite; Café para Dos; Cinco Piezas; Tango, Milonga y Final Maria Isabel Siewers and Maximo Diego Pujol ACOUA AQ114 As it turned out there was no need for concern, both Siewers and Pujol seem to be having the time of their lives immersing themselves in this wonderfully evocative music from a composer who has enriched the guitar’s repertoire with his output over the last twenty years. This programme ably illustrates the diversity of Pujol’s compositional styles where he combines the folk traditions of his Latin American culture with contemporary fashions. Moments of high drama and passion sit alongside works dreamy and reflective in nature, but all having the distinctive musical trademark which one immediately recognises as identifiable with Maximo Diego Pujol. Interestingly, Pujol’s most celebrated guitar duo, the Tango, Milonga y Final, which concludes the programme on this disc, is the earliest one in the chronological scheme of things; it was composed in 1979 with the rest of the programme ranging from 1993 through to 2005. One could conclude that Pujol peaked in the early 90’s with this piece and could not keep up the standard, but this is not the case, several of the other works on the programme are of the same high standard, perhaps they just haven’t had their day yet. This duo play extremely well together, both obviously having an affinity with the music being performed, their natural musicality and stylish sense of phrasing getting the best out of this delightful programme. The disc is well produced with an excellent sound quality and very attractive packaging. Recommended.
Steve Marsh A refreshing and original CD Tango, Milonga y Final Some adjectives, like „attractive“ are politically incorrect when used in music reviews because they seem to describe the commented object as just a minor entertainment. So, to start, I prefer to avoid any kind of misunderstanding. This CD is praiseworthy, interesting, refreshing and well produced. The works that Máximo Pujol wrote for guitar duo reflect, without exception, Argentine popular melodies, a nostalgic early tango flavour mixed with Piazzolla`s scent. All of that coloured by dissonances proper of some 20th. Century academic music, some of which can already be found in the arrangements of the best tango orchestras after 195 In spite of the title of this CD, the name of a work of Pujol composed in 1979, that has a clear correlation with Triste, solitario y final by Osvaldo Soriano, also a work that awakens melancholic feelings, this CD is not intended just for the admirers of Troilo or Piazzolla music, it is a product that can be included in the classical music spectrum, most exactly in what in the past was called „salon music“. This doesn’t imply that the pieces are performed as if they were Mozart or Chopin pieces: the approach of Siewers and Pujol himself is absolutely authentic and the phrasing and certain musical gestures are strictly performed in tango style. But one doesn’t find here the canyengue play or the passion and harsh remarks that are inherent and basic in tangos from Pugliese to Mederos. It is an intimate interpretation and, I insist, extremely attractive. And if we had to find a reference in the tango world, one should look for the intimacy and sensitivity of Horacio Molina.
There are energetic, nostalgic, pleasant and even bucolic, rhythmically clear urban milongas with suiting melodies; there is some stress on the candombe of the 40ths. And the music in this CD flows offering moments on intense pleasure without generating reiterative sensations. Variety and contrast are guaranteed through a series of pieces that avoid redundancy and also by some country motives, some vidala and even some pieces that don’t relate to argentine music. The sound engineering is very good and Siewers and Pujol get a perfect musical coupling. Their duo doesn’t evoke the guitars in tango, as soloists or as singer’s accompaniment, neither the sounds of native music. From the start there is an invulnerable feeling of pertinence to very good salon music. You should just sit and listen to it to feel in very good company. Pablo Kohan
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