The rich sound of the 10-person orchestra Hijos ilegitimos de Astor (Daniela Ferrati: Piano; Giampaolo Costantini and Alejandro Fasanini: Bandoneón; Francesca Giordanino: Violin; Aurelio Venanzi: Viola; Andrea Agostinelli: Cello; Riccardo Bertozzini: Guitar; Ivan Gambini: Percussion; Gianluca Ravaglia: Contrabass; and Valeria Visconti: Voice) makes the listener smile from the beginning to the end of this 14-track album. “Astor's illegitimate children” see themselves as both, a traditional and a contemporary orchestra. Bandoneonist-composer-arranger Alejandro Fasanini, composer of all songs, said that his “music tries to continue the path that Astor Piazzolla left”. In that vein the convincing starter “En primavera viste de blanco” surprises with various changes in style and atmosphere.
The third song, “Milonga para el otono”, is a beautiful piece of music, starting very sensitive with piano and double-bass. Then bandoneon and violoncello take over, and the song finds its syncopated evolution with jazzy guitar, drums and all strings – and ends with a ‘breath out’.
“Invierno inverso” is also one of these beautiful compositions which changes several times tone and mood, with a slow and reduced beginning and a seductive melody played by the violin and guitar, becoming a rhythmic milonga, and turning back and forth – difficult to resist.
Interestingly, the composer sees the four compositions “En primavera viste de blanco”, “Verano apiazzollado para Enrique Felpi”, “Milonga para el otoño” and “Invierno inverso” as his “Four Seasons”. Greetings from Baroque composer Vivaldi.
“Altalena”, “Tu recuerdo” and “La estampita de Gardel” feature Valeria Visconti as a passionate singer. Again, great dynamic compositions touching the listeners heart.
It is really fun to listen and dive in the depth of these gorgeous and multifaceted compositions, played by a versatile orchestra. Of course, there are many interesting ensembles and many great composers of contemporary tango, but to me Alejandro Fasanini is one of the outstanding and fascinating ones. He combines pure beauty in melodic development with rhythmic and harmonic trickiness; and avoids the pitfalls of compositional arrogance – the listener is in the forefront. This music is intended to be played in concert halls, but also in the small cafes in the late evening where we come to meet our pure lives.