Daniel Matejca's fourth Supraphon album marks a genre shift for the 21-year-old pianist. Following virtuosic sonatas by Eugène Ysaÿe (2023), a chamber music album with pianist Jan Schulmeister (Suk, Martinů, Fišer, 2025), and gripping concertos by Shostakovich and Prokofiev with the Prague Radio Symphony Orchestra under Tomáš Netopil (2025), the focus now turns to "Tango Nuevo," inextricably linked to Ástor Piazzolla. Beyond Argentine tango, his compositional style reflects not only contemporary classical music, which he studied in Paris under Nadia Boulanger, but also jazz and especially Bach's music—which Piazzolla famously played on the bandoneón, much to everyone's surprise. On a map, Piazzolla would sit on an imaginary axis between Buenos Aires, Paris, and New York.

It was likely this breadth of inspiration that captivated Daniel Matejca, who plays violin, piano, and percussion (not to mention the wide range of genres he performs), as well as the exceptional accordionist Martin Šulc, whose sonic palette ranges from intimacy to an almost orchestral fullness. Their seamless interplay is effortless; all the more impressive is the degree of freedom and expressivity they bring to it. Both suites ("Suite del Ángel," "Histoire du Tango") contain clearly audible echoes of Piazzolla's Parisian studies. Naturally, "Ave Maria," "Oblivion," "Escualo," and "Finale" are essential—irresistible works that alone would be enough to secure Piazzolla's immortality. This recording by two young musicians, fascinated by the Argentine legend, should certainly contribute to his enduring legacy.