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From the 1960s comes La muerte del angel (from a series of 'angel' pieces),
one of the distinctive pieces with which Piazzolla shook the conservative world of tango. "Nuevo tango = tango + tragedy + comedy + whorehouse" was an equation Piazzolla used to define his new direction. To that could be added greater harmonic sophistication - chromatic lines over chains of dominant sequences, much like baroque ground bass forms - and an elusive
jazz swing.

The third movement has much in common with "La muerte del angel" - the initial walking bass line, the rhythmically offset, upward leaps of the solo entry. This finale is based on a very danceable, streetwise tango Piazzolla first used in his soundtrack for the film Con alma y vida. "I didn't know how to finish it," Piazzolla said. "And then I told myself: I give them a tango so the erudite know that when I want I can write like them, and when I want I can do my thing." At the end, Piazzolla adds a section labeled "Melancolico Final," a tenderly tuneful tango that then dissolves into a final fury that is almost pure rhythm.

John Henken: The Los Angeles Philharmonic's Director of Publications

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