Sunday, January 14, 2001

By Mary Hoffman
For The Dispatch

Last night, a Southern Theatre audience was immersed in the music of Astor Piazzolla in two‑piano arrangements played by Pablo Ziegler and Christopher O'Riley

The Columbus Chamber Music Society, in a break from traditional fare, presented what has to be a first in this city -- an evening devoted to the tango‑based compositions of this remarkable Argentinian composer.

Born in Buenos Aires in 1921, Piazzolla transformed the tango of his native land, his talents partially nurtured by Alberto Ginastera and Nadia Boulanger. Forming and directing various musical ensembles, Piazzolla developed what he called the Tango Neuva, a melding of the dance with elements of jazz and the classics. Piazzolla died in 1992.

Two decades ago, the classically trained Ziegler, one of Argentina's most promising young jazz pianists, ,joined Piazzolla's 2nd Quintet. The two became lifelong associates. Ziegler arranged the pieces performed on the program, which included two of his own.

American 0'Riley, host of National Public Radio's music series From the Top, holds honors from prestigious piano competitions, his repertoire ranging widely from the Renaissance to 20th‑Century contemporary.

Known as Los Tangueros, the two teamed up in 1998. They are engaging, well-paired partners.

A dynamic, dazzling romp across the keyboards got the music off to a fine start with Michelangelo 70 (in honor of a Buenos Aires tango club). And the jazzy blues‑flavored Revirado was reminiscent of Gershwin with sophisticated torrents of notes.

At least four compositions should be singled out. Fugo Misterio was made up of a complex, fascinating fugue -- ebullient, ,jaunty and delivered at a brilliant pace -‑ and a gentle romantic interlude. Interesting percussive use of the piano was employed for the atmospheric Buenos Aires Hora 0, depicting wee hours in the city. La Muerte de Angel was given a spellbinding performance, with subtle shadings of sound. Piazzolla's most famous composition, Adios Nonino is a work, of rich harmonies and many moods. The work, written in memory of his father, was introduced by Piazolla's own cadences and impressively performed.

The entire evening was warmly received. The night, however, seemed lass a true representation of Piazzolla  than a showcase for the extraordinary talents a the pianists.

Now I'd like to hear, some live performances illustrating Piazzolla's unique approach to instrumentation.

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