The VIAFestival’s highlights shone brightly yet again when so to say “it went tango” yesterday evening. The venue buzzed with excitement yesterday evening that mix of intimacy of the Aula and the performance unfolding on a specially prepared platform.

Leonel Gasso is a renowned Uruguayan bandeónista of exceptional skill and virtuosity. When he sang he seemed to be in a trance so deeply did he feel the lyrics and the music. In ensemble with the three other musicians his playing remained very electrifying.

In actual fact the other performers had their own shining moments like the suave Albanian violinist who had a practically perfect Andalusian look AND a superb tone. Maltese pianist Juliette López, is of distant part-Spanish descent and she fit in very well as part of this well-knit ensemble.

Enriching this melting pot was the double-bassplayer Sophie Price, of mixed United States and Greek-Cypriot parentage. The two ladies had a most important role in supporting Messrs. Gasso and Andushaj.

Thickening the plot further is the fact that the Ensemble is mainly based in Germany.

A very useful and detailed programme note by Dr. Maria Frendo delved into the origins and development of the tango which is not of sole Argentinian origin but also from the Uruguayan other side of the immense estuary of the Rio de la Plata. It has many forms and styles and from humble beginnings the tango has become a real classic.

A list of 18 different works preceded the note. As it turned out two of them were omitted. Up to a certain extent the ensemble interacted very well with the audience, especially in the case of Gasso who has volcanic energy. Rather naughty was that very few of the works were announced. Not only that, the works were not performed in the order as published. They went (admittedly slickly) from one to the other. Many could but be confused and had to guess what was going on. Fortunately what I know of Spanish helped me track down what was going on. Very often Juliette López translated in English what Leonel Gasso was saying. However, remaining seated at the piano made clarity difficult. There were no less than six purely instrumental pieces and guessing which was which was only clarified when after the performance Sophie Price patiently put things in order by pointing out the order to which the performers adhered.

It was not surprising that the concert began with the Milonga del Ángel by Astor Piazzolla (1921-92) which few if any could fail to recognise. Pa’ que bailen los muchachos by A. Trolio (1914-75) was sung by Leonel Gasso. Tango sometimes deals with social problems and realities and the next work, arranged by Gasso was a heartfelt Barrío pobre by V. Belvedere (b.1946). Three more Gasso arrangements were Flor de lino (flax blossom) by H. Stamponi (1916-97), Nostálgico by J. Plaza (1928-2003) was self-explanatory and wistful while Mariposita by A. Aieta (1896-1964) was it seems, about a little butterfly. Tù was a warm piece by J. Danes (1907-94) also arranged by Gasso. So was Baile de los Morenos by C. Império (1910-85).

The first instrumental piece, Ojos negros by V. Greco (1888-1924) obviously inspired by beautiful black eyes not those resulting from some punch-up! More instrumental pieces arranged by Gasso were Nocturne by J. Plaza and El Apache Argentino by M. Aróztegui (1888-1938). Following a few more colourful and richly rhythmic numbers, the concert concluded with Gabriela 26, by Leonel Gasso (b.1985) dedicated to his late pianist sister and was a very personal and loving tribute to her memory.

It was great fun, colourful, beautiful music, genuinely moving and uplifting in so many different ways. It will long be remembered!

Albert George Storace