Cuarteto Rotterdam - Yunta de Oro

It’s probably best that I say this right away: These recordings represent the best and most interesting tango music that I have heard in a long time. The “liner notes” on this CD were composed by Gustavo Beytelmann, known for his work with Mosalini and with his own tango arrangements. Here his influence determines that Cuarteto Rotterdam possesses something of substantial importance, namely an entirely individual sound. This is true, but it is not everything. Susanne Cordula Welsch (violin), Judy Ruks (piano), Frances Dorling (contrabass) and Michael Dolak (bandoneón) apply sheer skill in tango, produce superb arrangements and achieve a high degree of artistic creativity in 17 music pieces.
The musical range on this CD stretches from Gardel’s Por una Cabeza across a number of works from Piazzolla and two Di Sarlis, right through to couple of Puglieses. However, each respective piece never simply bows to the style of its great master, instead sounding unique and fresh. The interpretations communicate the feelings evoked by these works in the three ladies and one gentleman on the bandoneón – as well as that which artistically occurs to them.

I have also been delighted by very different things, such as the unusual and outlandish Desde el Alma and the wonderful adaptation of Nelegattis Milonga del Serafín. The guitar sections were entirely transposed to the piano, and this was done with great artistry. After hearing the piece, one is no longer able to say which is the original version, that with the guitar or that with the piano. And which of the two is more beautiful, well that is impossible to say.

Then there is a recording on CD, which I would like to name the “50th Block”. This includes Letteras Atrapante and Divertida (Milonga), Julián Plazas Danzarín and Morena as well as Canaro en Paris. Pieces, which served to produce the ensemble that was the club sound in the 50s and 60s, stirringly played, perfect but lively, Troilo, Baffa/Berlingheri and Horacio Salgán send their love. In the case of Canaro en Paris, Cuarteto Rotterdam are downright cocky, pitching the B section as a dry fugato, in order to truly soar away in the closing stretta – this is humour. With this arrangement it is otherwise almost impossible to say to which venue the music is better suited: in a concert hall or on the Milonga as a live act. Cuarteto Rotterdam do not appear to distinguish greatly between the two, their music is simply both, art and dance music. This also distinguishes them from a number of their peers. Somehow, someone is always taking care of the tempo and the beat in their interpretations – a delightful fact that makes it very easy to dance to extensive sections of their music.

Jürgen Bieler
Tangodanza, No. 1 2008

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