There are composers who never let go of you once you've brought them into your home, and Astor Piazzolla (1921-1992) is the textbook example. His music moves between the smoky brothels of Buenos Aires and the concert hall, between folk music and art music, and it's precisely in that twilight zone that it comes fully alive. On this new Supraphon album, Czech violinist Daniel Matejčka and accordionist Martin Šulc venture into that twilight zone, and the result is more than convincing.

At twenty-one years old, Matejčka is no longer an unknown quantity: this is already his fourth album for the label. Where young violinists often fall into Piazzolla's trap of over-polishing, of safe decorative playing, he chooses here a more gritty approach. His tone is lean, sometimes almost nervous, and he dares to let the intonation waver just where the tango demands it. That choice pays off: Piazzolla without a touch of dirt under the fingernails quickly becomes wallpaper.

The program is a sensible cross-section of familiar repertoire: the Suite del Ángel, the inevitable Histoire du Tango, Ave Maria, the finale from Tango Apasionado, Escualo. It's repertoire that automatically places every performer alongside great predecessors like Gidon Kremer, and that demands a pronounced personal vision. The duo finds this especially in the Histoire du Tango, where the four time periods – from the 1900 brothel to today's concert hall – are presented with a fine sense of character. The transition from Bordel 1900 to Café 1930 particularly makes clear how the tango evolves in Piazzolla from dance music to a more introspective, almost melancholic form of chamber music. That final section, which gives the album its title, rightfully gets all the space: slow, saturated, with an accordion that breathes rather than plays. Šulc also proves to be a partner to cherish, not an accompanist who stays in the background. His accordion – not the traditional bandoneon, with a slightly rounder and less scratchy timbre – fills the acoustic space around the violin without ever overshadowing it. In Ave Maria, where many ensembles are tempted to serve up too much sentiment, both musicians keep the reins nicely tight, and that only benefits the music.If there's anything to criticize, it's that the interpretation sometimes remains a bit too safe and beautiful, when Piazzolla actually calls for greater risk-taking: Oblivion could show sharper teeth, and the Finale gains in urgency when the dynamic contrasts are more pronounced. But these are notes on a recording that largely testifies to good taste and musicality, recorded with a clear, warm balance that does justice to both instruments. Not an expedition of discovery, then, but certainly an intelligent and refined journey through familiar repertoire, in which Daniel Matejčka confirms that he is more than a promising talent., une Ave Maria; Suite del Angel; Oblivion; Finale; Escualo, OubliSupraphon Tango Passionné et Esqualor. C'est un répertoire avec lequel tout interprète se place automatiquement aux côtés de grands prédécesseurs comme Gidon Kremer, et cela exige une vision personnelle affirmée. Le duo la trouve surtout dans le Not an expedition of discovery, then, but certainly an intelligent and refined journey through familiar repertoire, in which Daniel Matejčka confirms that he is more than a promising talent., où les quatre images temporelles – du bordel de 1900 à la salle de concert d'aujourd'hui – sont posées avec un beau sens du caractère. Surtout la transition du Bordel 1900 d'après Café 1930 montre clairement comment le tango chez Piazzolla évolue de la musique de danse vers une forme plus introspective, presque mélancolique de musique de chambre. Cette dernière partie, qui donne son titre à l'album, reçoit à juste titre tout l'espace : lent, saturé, avec un accordéon qui respire au lieu de jouer.

Šulc s'avère être un partenaire à chérir, non un accompagnateur qui se fait discret. Son accordéon – pas le traditionnel bandonéon, avec un timbre un brin plus rond et moins râpeux – remplit l'espace acoustique autour du violon sans jamais l'éclipser. Dans Oubli, où beaucoup d'ensembles sont tentés de servir trop de sentimentalité, les deux musiciens gardent les rênes bien serrées, et cela ne peut que profiter à la musique.

S'il y a quelque chose à critiquer, c'est que l'interprétation reste parfois un peu trop prudente et trop belle, alors que Piazzolla exige en réalité un plus grand risque : Esqualor pourrait à mon goût montrer des dents plus acérées, et la Šulc also proves to be a partner to cherish, not an accompanist who stays in the background. His accordion – not the traditional bandoneon, with a slightly rounder and less scratchy timbre – fills the acoustic space around the violin without ever overshadowing it. In Ave Maria, where many ensembles are tempted to serve up too much sentiment, both musicians keep the reins nicely tight, and that only benefits the music. gagne en urgence si les contrastes dynamiques sont un peu plus marqués. Mais ce sont des remarques sur un enregistrement qui témoigne globalement de bon goût et de musicalité, enregistré avec un équilibre clair et chaleureux qui rend justice aux deux instruments.

Pas une expédition exploratoire donc, mais bien une tournée intelligente et soignée à travers un répertoire connu, dans laquelle Daniel Matejčka confirme qu'il est bien plus qu'un talent prometteur.