The impressively international character of Barenboim’s career causes us to forget that he was born in Buenos Aires and spent his first nine years there before moving to Vienna, Israel and the world at large. Now, 45 years later and unexpectedly expressing a querencia (homing instinct/nostalgia) for “my beloved Buenos Aires”, he has been the moving spirit in recording a number of tangos by the most famous practitioners of this genre.
Of the 14 pieces here, half are already known to us from previous recordings (vocal or instrumental); but that does not lessen the appeal of some of these haunting tunes in the present arrangements – in which (as in jazz) improvisatory treatment plays a not inconsiderable part. Four items are piano solos – the chirpy Bailecito (“Little dance”) by Resta, Piazzolla’s Tzigane and a rhapsodic version of his lament for his father (Adios Nonino) and a pensive piece from Ginastera’s Op. 2 Danzas argentinas. The last two are played with the utmost sensitivity, and it is just a pity that too close a recording turns fortes harsh. Elsewhere the melodic interest is shared fairly equally between Mederos (an excellent player) and Barenboim, though once again, when the latter takes the lead, over-forward placing makes the piano tone sometimes too bright for ideal balance. And there is one item, Contrabajeando, originally written for the bass player in Anibal Troilo’s tango orchestra, which highlights Console’s agility.
If plums have to be picked here, let me suggest the two numbers by the poetic Gardel and the pieces depicting the four seasons (porteno is the adjective meaning “in Buenos Aires”) by the harmonically more advanced Piazzolla.'