Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

The Kronos Quartet is an American string quartet based in San Francisco. It has been in existence with a rotating membership of musicians for 50 years. The quartet covers a very broad range of musical genres, including contemporary classical music. More than 1,200 works have been written for it. The quartet has recorded over 75 albums and received a number of awards.

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

This is a list of notable events in Latin music (i.e. Spanish- and Portuguese-speaking music from Latin America, Latin Europe, and the United States) that took place in 2007.

This is a list of compositions for cello and piano. It includes sonatas as well as other pieces for cello and piano.

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

Julián Plaza (9 July 1928 – 19 April 2003) was an Argentine musician who dedicated himself to the tango genre as a composer, orchestra conductor, pianist, bandoneonist, and arranger.

Yo-Yo Ma (born October 7, 1955) is an American cellist. Born to Chinese parents in Paris, he was regarded as a child prodigy, and began to study the cello with his father at age four. Ma moved with his family to Boston at age seven and later to New York City, where he continued his cello studies at the Juilliard School before pursuing a liberal arts education at Harvard University. He has performed as a soloist with orchestras around the world, recorded more than 92 albums, and received 20 Grammy Awards. In addition to recordings of the standard classical repertoire, Ma has recorded a wide variety of folk music, such as American bluegrass music, traditional Chinese melodies, the tangos of Argentine composer Astor Piazzolla, and Brazilian music. He has also collaborated with artists from a diverse range of genres, including Bobby McFerrin, Carlos Santana, Chris Botti, Diana Krall, James Taylor, Miley Cyrus, Zakir Hussain, and Sting. Ma has been a United Nations Messenger of Peace since 2006. He has received numerous awards, including the Avery Fisher Prize in 1978, The Glenn Gould Prize in 1999, the National Medal of Arts in 2001, the Presidential Medal of Freedom in 2011, Kennedy Center Honors in 2011, the Polar Music Prize in 2012, and the Birgit Nilsson Prize in 2022. He was named one of Time's 100 most influential people of 2020. Ma's primary performance cello is the Davidov Stradivarius, made in 1712 by Antonio Stradivari.

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

This is a list of compositions by the Cuban composer and guitarist Leo Brouwer. Given the prominence of the instrument in Brouwer's oeuvre, his works for guitar solo, guitar ensembles, as well as guitar concertos, are all placed in a separate category. However, pieces which include guitar as part of a mixed ensemble, and ones for guitar and tape, are placed into the chamber music category.

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

This is a partial alphabetical list of all the songs known to have been recorded and/or performed by, or featuring Milva, between 1959 and 2012. Over 1200 of her songs are listed below, organised by language and listed in chronological order of recording, performance, and/or release.

This is a list of compositions by the Cuban composer and guitarist Leo Brouwer. Given the prominence of the instrument in Brouwer's oeuvre, his works for guitar solo, guitar ensembles, as well as guitar concertos, are all placed in a separate category. However, pieces which include guitar as part of a mixed ensemble, and ones for guitar and tape, are placed into the chamber music category.

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

Sérgio Assad (born 26 December 1952) is a Brazilian guitarist, composer, and arranger who often performs with his brother, Odair, in the guitar duo Sérgio and Odair Assad, commonly referred to as the Assad Brothers or Duo Assad. Their younger sister Badi is also a guitarist. Assad is the father of composer/singer/pianist Clarice Assad. He is married to Angela Olinto.

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

Discos Qualiton was a record label, published by the recording studio Fonema S.A. A garage experiment in Rosario, Argentina in 1961, Qualiton would later become a major independent record label influencing a generation of artists, writers, musicians, poets, and filmmakers.

Argentine tango is a musical genre and accompanying social dance originating at the end of the 19th century in the suburbs of Buenos Aires. It typically has a 24 or 44 rhythmic time signature, and two or three parts repeating in patterns such as ABAB or ABCAC. Its lyrics are marked by nostalgia, sadness, and laments for lost love. The typical orchestra has several melodic instruments and is given a distinctive air by the bandoneon. It has continued to grow in popularity and spread internationally, adding modern elements without replacing the older ones. Among its leading figures are the singer and songwriter Carlos Gardel and composers/performers Francisco Canaro, Juan D'Arienzo, Carlos Di Sarli, Osvaldo Pugliese, Elvira Santamaría, and Ástor Piazzolla.

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

This is a Nonesuch Records discography, organized by catalog number.

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

Tango Distinto is a solo album by the trombonist Achilles Liarmakopoulos of Astor Piazolla's music. This album is the first to appear with Piazzolla's music played by solo trombone. With ten popular compositions it showcases the combination of the trombone with a number of different instruments and in the context of different moods that underline the composer's romantic, erotic, passionate, nostalgic, imaginative and always generously warm-spirited music.

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

Argentine tango is a musical genre and accompanying social dance originating at the end of the 19th century in the suburbs of Buenos Aires. It typically has a 24 or 44 rhythmic time signature, and two or three parts repeating in patterns such as ABAB or ABCAC. Its lyrics are marked by nostalgia, sadness, and laments for lost love. The typical orchestra has several melodic instruments and is given a distinctive air by the bandoneon. It has continued to grow in popularity and spread internationally, adding modern elements without replacing the older ones. Among its leading figures are the singer and songwriter Carlos Gardel and composers/performers Francisco Canaro, Juan D'Arienzo, Carlos Di Sarli, Osvaldo Pugliese, Elvira Santamaría, and Ástor Piazzolla.

The Octeto Buenos Aires was a legendary tango group formed in 1955 by the Argentine bandoneon player Astor Piazzolla. In 1958 the Octeto was disbanded and Piazzolla returned to New York City with his family where he struggled to make a living as a musician and arranger in the next stage of his career that would prove to be so ground-breaking in the history of tango. During his youth, Piazzolla had served his musical apprenticeship as a tango bandoneonist in a number of orquesta típicas, including those of Aníbal Troilo and Francisco Fiorentino. In his search for new ways of expressing himself musically Piazzolla formed his own orchestra of this type in 1946. Unsure of which way to turn he disbanded his orchestra in 1950 and began to study classical music which took him to Paris in 1954, where he studied classical composition and counterpoint with Nadia Boulanger. During his time in Paris, he had the opportunity of listening to many jazz groups, including the tentet of the saxophonist, Gerry Mulligan. Impressed by the enthusiasm of the musicians and the obvious pleasure they derived from improvising together, something he had not observed in the world of tango, he decided to form the Octeto de Buenos Aires on his return to Buenos Aires in 1955. Octeto Buenos Aires brief but significant history is considered the turning point between two eras and two types of tango. The ensemble pioneered nuevo tango, a new approach to tango which, until then, had been dominated by the traditional orquesta típicas of the 1930s and 1940s. This would mark a watershed in the history of tango and set Piazzolla on a collision course with the tango establishment. The Octeto Buenos Aires had a great influence upon some of the musicians who were thinking of different ways to modernize tango in the same time period. Piazzolla was carried away by a certain excess in the music he wrote for this octet, based on the classic tango sextet, with the addition of a cello and an electric guitar (something new for the time). However, seen in perspective, what seems like a chaotic explosion of creativity is instead based on an artistic manifesto that Piazzolla respected very strictly. This manifesto sought to place the commercial aspect in the background; to incorporate arrangements of classic tangos and as well as new creations into the repertoire; to not include sung works; and to not perform at dances, but only on radio, television or in concert, or for recordings. The works would be explained before executing them, in order to facilitate their understanding. The purpose of the project was to improve the quality of tango, convince those who had turned away from tango, as well as the genre's detractors, of tango's unquestionable values, attract listeners of foreign music, and conquer the general public. He chose the best musicians of the day: Roberto Pansera (later replaced by Leopoldo Federico) joined him on bandoneon with Atilio Stampone (piano), Enrique Mario Francini and Hugo Baralis (violins), José Bragato (cello), Aldo Nicolini (later replaced by Juan Vasallo on double bass) and Horacio Malvicino (electric guitar). Piazzolla's first arrangement for the Octeto was the tango Arrabal by José Pascual, which he had dreamed of playing since he first heard Elvino Vardaro’s version of it as a child. The Octeto created a new sound akin to chamber music and without a singer, normally part of an orquesta típica. Neither the jazz-like improvisations of Malvicino on electric guitar, for example in Piazzolla's 1955 composition Marrón y Azul, nor the cello solos of the classically trained Bragato had ever been heard before in tango. Initially he had difficulties balancing the sound of the Octeto due to the lack of strings, which meant that those he did have were required to play in an unusual way to compensate. The strings were also called upon to imitate percussion instruments and the two bandoneons had to play up to six-part harmonies. The piano and double bass provided the rhythmical force. Soon after the formation of the Octeto, Piazzolla began to wonder whether he had taken tango too far away from its roots, and called upon the highly respected Osvaldo Pugliese to adjudicate. Everyone was greatly relieved when, after listening to them perform, he reassured them that they were indeed still playing music within the genre. Piazzolla was tired of the constraints imposed by traditional tango and aimed to use his Octeto to introduce new rhythms, harmonies, melodies, timbres and forms, whilst maintaining the essence of tango. His inclusion of counterpoint, fugues and new harmonic forms was to stir up the first controversies among traditional tangueros which would later come to haunt him. His music was beginning to appeal less to dancers and more to people who would go to listen to his music. Nuevo tango had arrived and Piazzolla was in the vanguard. The complete repertoire of the octet included nineteen arrangements, of which eight are included on this album. Among the compositions, the beginnings of traditional tango are represented by Rosendo Mendizábal. The main composers of the Decarean school are also present, including Julio De Caro himself and the bandoneonist Pedro Maffia, as well as their highly regarded counterpart Juan Carlos Cobián, whose works were of great harmonic and melodic interest. Finally, several exponents of modern tango are included, such as Horacio Salgán and José Pascual, in addition to compositions by Horacio Malvicino and Piazzolla himself. The only surviving original manuscript of an arrangement of the Octeto Buenos Aires is that of the tango Arrabal, since Piazzolla burned a large part of his scores. The other seven arrangements included in the album had to be transcribed from the recordings, which were all commercially released except for Tierra Querida, preserved thanks to a non-commercial live recording of a 1956 concert held at Montevideo's Sala Verdi. The performances of the Octeto Buenos Aires were sporadic and its members were obliged to join other ensembles to make ends meet. They would, however, never derive the same satisfaction from these other engagements as from the Octeto. The Octeto made only a few recordings after Piazzolla had agreed to sign away rights to the royalties. Without precedent in tango, the Octeto Buenos Aires was an experimental project by Piazzolla, through which he proposed a new way of addressing the genre that required a new approach to listening to tango, much more arduous than that of traditional tango. The experience did not have enough public to be financially viable, and, furthermore, tango in general was on its way to a major crisis, in full struggle with other popular genres that were emerging, including rock, tropical music, the bolero, etc. The Octeto Buenos Aires lasted just two years but it left an indelible mark on the history of tango.

This is a Nonesuch Records discography, organized by catalog number.

Tango Argentino is a musical stage production about the history and many varieties of Argentine tango. It was created and directed by Hector Orezzoli and Claudio Segovia, and premiered at the Festival d'Automne in Paris in 1983 and on Broadway in New York in 1985. The Mel Howard production became a world-wide success with numerous tours culminating with a Broadway revival in 1999–2000. It set off a world-wide resurgence of tango, both as a social dance and as a musical genre. Tango Argentino recreates on stage the history of tango from its beginnings in 19th-century Buenos Aires through the tango's golden age of the 1940s and 50s up to Piazzolla's tangos. Most of the dancers in the show did their own choreography. Tango Argentino was a totally unexpected hit. It violated all the rules— It was low budget, used a single set, and showcased slim, athletic professional dancers, such as Nelson Avila, along with middle-aged dancers, such as Verulazo and Elvira Santamaría, all on the same stage. The average age of the cast was 42 years.All this glamour attends a show that even Argentines wouldn't invest in at the outset, a show that made it to Broadway largely by accident, a show that has one set, four accordions (called bandoneons) and a couple of 38-inch waistlines. (Samuel G. Friedman, NY Times 1985)

A wind quintet, also known as a woodwind quintet, is a group of five wind players (most commonly flute, oboe, clarinet, French horn and bassoon). Unlike the string quartet (of 4 string instruments) with its homogeneous blend of sound color, the instruments in a wind quintet differ from each other considerably in technique, idiom, and timbre. The modern wind quintet sprang from the octet ensemble favored in the court of Joseph II in late 18th century Vienna: two oboes, two clarinets, two (natural) horns, and two bassoons. The influence of Haydn's chamber writing suggested similar possibilities for winds, and advances in the building of these instruments in that period made them more useful in small ensemble settings, leading composers to attempt smaller combinations. It was Anton Reicha's twenty-four quintets, begun in 1811, and the nine quintets of Franz Danzi that established the genre, and their pieces are still standards of the repertoire. Though the form fell out of favor in the latter half of the 19th century, there has been renewed interest in the form by leading composers in the 20th century, and today the wind quintet is a standard chamber ensemble, valued for its versatility and variety of tone color.

John Coolidge Adams (born February 15, 1947) is an American composer and conductor. Among the most regularly performed composers of contemporary classical music, he is particularly noted for his operas, many of which center around historical events. Apart from opera, his oeuvre includes orchestral, concertante, vocal, choral, chamber, electroacoustic, and piano music. Born in Worcester, Massachusetts, Adams grew up in a musical family and was exposed to classical music, jazz, musical theatre, and rock music. He attended Harvard University, studying with Leon Kirchner, Roger Sessions, and David Del Tredici, among others. His earliest work was aligned with modernist music, but he began to disagree with its tenets upon reading John Cage's Silence: Lectures and Writings. Teaching at the San Francisco Conservatory of Music, Adams developed a minimalist aesthetic first fully realized in Phrygian Gates (1977) and later in the string septet Shaker Loops. Adams became increasingly active in San Francisco's contemporary music scene, and his orchestral works Harmonium (1980–1981) and Harmonielehre (1985) first gained him national attention. Other popular works from this time include the fanfare Short Ride in a Fast Machine (1986) and the orchestral work El Dorado (1991). Adams's first opera was Nixon in China (1987), which recounts Richard Nixon's 1972 visit to China and was the first of many collaborations with theatre director Peter Sellars. Though the work's reception was initially mixed, it has become increasingly respected since its premiere, receiving performances worldwide. Begun soon after Nixon in China, the opera The Death of Klinghoffer (1991) was based on the Palestinian Liberation Front's 1985 hijacking and murder of Leon Klinghoffer and incited considerable controversy for its subject matter. His next notable works include a Chamber Symphony (1992), a Violin Concerto (1993), the opera-oratorio El Niño (2000), the orchestral piece My Father Knew Charles Ives (2003), and the six-string electric violin concerto The Dharma at Big Sur (2003). Adams won a Pulitzer Prize for Music for On the Transmigration of Souls (2002), a piece for orchestra and chorus commemorating the victims of the September 11, 2001 attacks. Continuing with historical subjects, Adams wrote the opera Doctor Atomic (2005), based on J. Robert Oppenheimer, the Manhattan Project, and the building of the first atomic bomb. Later operas include A Flowering Tree (2006), Girls of the Golden West (2017), and Antony and Cleopatra (2022). In many ways, Adams's music is developed from the minimalist tradition of Steve Reich and Philip Glass, but he tends to more readily engage in the immense orchestral textures and climaxes of late Romanticism in the vein of Wagner and Mahler. His style is to a considerable extent a reaction against the modernism and serialism of the Second Viennese and Darmstadt Schools. In addition to the Pulitzer, Adams has received the Erasmus Prize, a Grawemeyer Award, five Grammy Awards, the Harvard Arts Medal, France's Ordre des Arts et des Lettres, and six honorary doctorates.

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

Evgeni Orkin (Євген Оркін, born 2 October 1977) is a Ukrainian composer, clarinetist, saxophonist, conductor and author, who is based in Germany.

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

Cuarteto Zupay or simply Los Zupay, was an Argentinian Popular Music group formed in Buenos Aires in 1966 that remained active until 1991. The founding members were the brothers Pedro Pablo García Caffi (baritone) and Juan José García Caffi (first tenor), Eduardo Vittar Smith (bass) and Aníbal López Monteiro (second tenor). Over the years, the group's line-up changed with the exception of Pedro Pablo García Caffi, holder of the group's name, who remained a member until its dissolution. Other members were Eduardo Cogorno (tenor), Rubén Verna (tenor), Horacio Aragona (tenor), Gabriel Bobrow (tenor), Javier Zentner (bass) and Marcelo Díaz (tenor). From 1981 until the dissolution of the quartet in 1991, the line-up was Pedro Pablo García Caffi, Eduardo Vittar Smith, Rubén Verna and Gabriel Bobrow. With a style based on vocal work, Cuarteto Zupay tried to overcome the split between folkloric music and tango, as well as to develop new sounds and themes that could attract young people to a style they called Música Popular Argentina (English: Argentinian Popular Music) or MPA. Among their repertoire stand out Marcha de San Lorenzo, Zamba del nuevo día, Chiquilín de Bachín, Si Buenos Aires no fuera así, Jacinto Chiclana, Canción de cuna para un gobernante, Oración a la Justicia, Como la cicada, Te quiero, Ojalá, etc. Their favorite author was María Elena Walsh, whose songs were included in almost all the albums they released, three of them exclusively.

Accordions (from 19th-century German Akkordeon, from Akkord—"musical chord, concord of sounds") are a family of box-shaped musical instruments of the bellows-driven free reed aerophone type (producing sound as air flows past a reed in a frame). The essential characteristic of the accordion is to combine in one instrument a melody section, also called the diskant, usually on the right-hand keyboard, with an accompaniment or Basso continuo functionality on the left-hand. The musician normally plays the melody on buttons or keys on the right-hand side (referred to as the keyboard or sometimes the manual), and the accompaniment on bass or pre-set chord buttons on the left-hand side. A person who plays the accordion is called an accordionist. The accordion belongs to the free-reed aerophone family. Other instruments in this family include the concertina, harmonica, and bandoneon. The concertina and bandoneon do not have the melody–accompaniment duality. The harmoneon is also related and, while having the descant vs. melody dualism, tries to make it less pronounced. The harmonium and American reed organ are in the same family, but are typically larger than an accordion and sit on a surface or the floor. The accordion is played by compressing or expanding the bellows while pressing buttons or keys, causing pallets to open, which allow air to flow across strips of brass or steel, called reeds. These vibrate to produce sound inside the body. Valves on opposing reeds of each note are used to make the instrument's reeds sound louder without air leaking from each reed block. The accordion is widely spread across the world because of the waves of migration from Europe to the Americas and other regions. In some countries (for example: Argentina, Brazil, Colombia, the Dominican Republic, Mexico, and Panama) it is used in popular music (for example: Chamamé in Argentina; gaucho, forró, and sertanejo in Brazil; vallenato in Colombia; merengue in the Dominican Republic; and norteño in Mexico), whereas in other regions (such as Europe, North America, and other countries in South America) it tends to be more used for dance-pop and folk music. In Europe and North America, some popular music acts also make use of the instrument. Additionally, the accordion is used in cajun, zydeco, jazz, and klezmer music, and in both solo and orchestral performances of classical music. Many conservatories in Europe have classical accordion departments.

A sinfonietta is a symphony that is smaller in scale (either in terms of length or the instrumental forces required), or lighter in approach than a standard symphony. Although of Italian form, the word is not genuine in that language and has seldom been used by Italian composers. It appears to have been coined in 1874 by Joachim Raff for his Op. 188, but became common usage only in the early 20th century (Temperley 2001). Just as the term symphony itself can refer to pieces of music of varied size and scope, it is difficult to identify common criteria which pieces called sinfonietta share. Many of the sinfoniettas listed on this page employ larger forces and/or are longer than pieces designated symphonies, sometimes even by the same composer. Examples of sinfoniettas include: William Alwyn's Sinfonietta for strings (1970) Malcolm Arnold's Sinfonietta No. 1, Op. 48 (1954), Sinfonietta No. 2, Op. 65 (1958), and Sinfonietta No. 3, Op. 81 (1964) Alexander Arutiunian's Sinfonietta for string orchestra (1966) Jürg Baur's Triton-Sinfonietta: 3 Grotesken für Kammerorchester (1974) Maciej Bałenkowski's Sinfonietta no. 1 "Time is ticking" for string orchestra (2013/2014) and Sinfonietta no. 2 "Polonia" - hommage à Wojciech Kilar for string orchestra (2017/2018) Arnold Bax's Sinfonietta (1932) Lennox Berkeley's Sinfonietta, Op. 34 (1950) Herbert Blendinger's Sinfonietta, Op. 30 (1976) Eugène Bozza's Sinfonietta for string orchestra, Op. 61 (1944) Benjamin Britten's Sinfonietta, Op. 1 (1932) George Whitefield Chadwick's Sinfonietta (1904) Henry Cowell's Sinfonietta for chamber orchestra (1928) Ingolf Dahl's Sinfonietta for wind band Ikuma Dan's Sinfonietta (1974) Peter Maxwell Davies's Sinfonietta accademica (1987) Louis Durey's Sinfonietta for strings, Op. 105 (1966) Ulvi Cemal Erkin's Sinfonietta for string orchestra (1951–59) Iván Erőd's Minnesota Sinfonietta, Op. 51 Harald Genzmer's Sinfonietta for string orchestra Peggy Glanville-Hicks's Sinfonietta No. 1 in D minor for small orchestra (1935) and Sinfonietta No. 2 for orchestra (1938) Kimmo Hakola's Sinfonietta (1999) Ernesto Halffter's Sinfonietta in D major (1925) Josef Matthias Hauer's Sinfonietta in 3 Sätzen, Op. 50 Bernard Herrmann's Sinfonietta for string orchestra (1935) Paul Hindemith's Lustige Sinfonietta, Op. 4 (1916), and Symphonietta (Little Symphony) in E major (1949) Alun Hoddinott's Sinfonietta No. 1, Op. 56 (1968), Sinfonietta No. 2, Op. 67 (1969), Sinfonietta No. 3, Op. 71 (1970), and Sinfonietta No. 4 (1971) Bertold Hummel's Sinfonietta for wind orchestra, Op. 39 (1970) Mikhail Ippolitov-Ivanov's Sinfonietta, Op. 34 (arrangement for large orchestra of Violin Sonata, Op. 8) (1902) Leoš Janáček's Sinfonietta (1926) John Joubert's Sinfonietta for chamber orchestra, Op. 38 Pál Kadosa's Sinfonietta for orchestra Robert Kajanus's Sinfonietta, Op. 16 (1915) Vítězslava Kaprálová's Military Sinfonietta, Op. 11 (1937) Nikolai Kapustin's Sinfonietta for orchestra, Op. 49 (1986) Erich Wolfgang Korngold's Sinfonietta in B major, Op. 5 (1912) Ernst Krenek's Sinfonietta for string orchestra, "A brasileira", Op. 131 (1952) Ladislav Kubík's Sinfonietta No. 1 for 19 instruments (1999), No. 2, "Jacob’s Well" for orchestra (1999) and No. 3, "Gong" for mezzo-soprano, mixed choir, orchestra and electronics (2007–08) James MacMillan's Sinfonietta (1991) Elizabeth Maconchy's Sinfonietta (1976), not to be confused with her Little Symphony (1980–81) Tomás Marco's Sinfonietta No. 1 ("Opaco resplandor de la memoria"), for orchestra (1998–99), and Sinfonietta No. 2 "Curvas del Guadiana" (2004) Igor Markevitch's Sinfonietta in F (1928–29) Bohuslav Martinů's Sinfonietta giocosa (1940) and Sinfonietta La Jolla (1950), both for piano and chamber orchestra William Mathias's Sinfonietta, Op. 34 (1967) Johan de Meij's Sinfonietta No. 1 for brass band (2011) Darius Milhaud's Sinfonietta, Op. 363 (1957) E. J. Moeran's Sinfonietta (1944) José Pablo Moncayo's Sinfonietta (1945) Saburō Moroi's Sinfonietta in B-flat, Op. 24 "For Children" (1943) Nikolai Myaskovsky's Sinfonietta No. 1 for small orchestra, Op. 10 (1911), No. 2 for string orchestra, Op. 32 No. 2 (1929) and No. 3 for string orchestra, Op. 68 (1946) Ottokar Nováček's Sinfonietta for woodwind octet (1905) Krzysztof Penderecki's Sinfonietta No. 1 for string orchestra (1992), No. 2 for clarinet and strings (1994), No. 3 for string orchestra (2012) and Sinfonietta for flute and string orchestra (2019) George Perle's Sinfonietta I (1987) and II (1990) Astor Piazzolla's Sinfonietta for chamber orchestra, Op. 19 Walter Piston's Sinfonietta (1941) Francis Poulenc's Sinfonietta (1947) Sergei Prokofiev's Sinfonietta in A major, Op. 5 (1909, rev. 1929 as Op. 48) Joachim Raff's Sinfonietta for ten winds, Op. 188 (1874) Max Reger's Sinfonietta in A major, Op. 90 (1904–05) Wallingford Riegger's Sinfonietta (1959) Nikolai Rimsky-Korsakov's Sinfonietta on Russian Themes in A minor, Op. 31 (1879–84) Julius Röntgen's Sinfonietta humoristica (1922) Albert Roussel's Sinfonietta for string orchestra, Op. 52 (1934) Edmund Rubbra's Sinfonietta for large string orchestra, Op. 163 (1984–85) Cyril Scott's Sinfonietta for organ, harp and strings (1962) Humphrey Searle's Sinfonietta, Op. 49, for flute, oboe, clarinet, bassoon, horn, violin, viola, cello, and double bass (1968–69) Kazimierz Serocki's Sinfonietta for 2 string orchestras (1956) Vissarion Shebalin's Sinfonietta on Russian folksongs, Op. 43 (1949–51) Nikos Skalkottas's Sinfonietta (1948–49) Carlos Surinach's Sinfonietta flamenca (1953–54) Germaine Tailleferre's Symphonietta for trumpet, tympani and strings (1974–75) Alexandre Tansman's Sinfonietta No. 1, "À mon ami Louis Gruenberg" (1924) and Sinfonietta No. 1, "À Renard Czajkowski" (1978) Boris Tchaikovsky's Sinfonietta for string orchestra (1953) Mikis Theodorakis's Sinfonietta for solo flute, piano and string orchestra (1947) Ernst Toch's Sinfonietta for string orchestra, Op. 96 (1964), Sinfonietta for wind instruments and percussion, Op. 97 (1964) Eduard Tubin's Sinfonietta on Estonian Motifs (1940) Geirr Tveitt's Sinfonietta di Soffiatori (1962) Erich Urbanner's Sinfonietta 79 Anatol Vieru's Sinfonietta (1975) Heitor Villa-Lobos's Sinfonietta No. 1 (1916) and Sinfonietta No. 2 (1947) Johan Wagenaar's Sinfonietta (1916) Graham Waterhouse's Sinfonietta for string orchestra, Op. 54 (2002) Franz Waxman's Sinfonietta for string orchestra and timpani Mieczysław Weinberg's Sinfonietta No. 1, Op. 41 (1948) and Sinfonietta No. 2 for string orchestra and timpani, Op. 74 (1960) Felix Weingartner's Sinfonietta, Op. 83 (1932) John Williams's Sinfonietta for wind ensemble (1968) Malcolm Williamson's Sinfonietta (1965) Alexander von Zemlinsky's Sinfonietta for orchestra, Op. 23 (1934) Zhu Jian'er's Sinfonietta, Op. 38 (1994) Matteo Zanetti's Symphonietta for string orchestra (2010)

Francisco de Jesús Rivera Figueras (born 4 June 1948), known as Paquito D'Rivera, is a Cuban-American alto saxophonist, clarinetist and composer. He was a member of the Cuban songo band Irakere and, since the 1980s, he has established himself as a bandleader in the United States. His smooth saxophone tone and his frequent combination of Latin jazz and classical music have become his trademarks.

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

Fugata Quintet is a London based chamber group formed in early 2007 at the Royal Academy of Music, where all quintet members were studying at the time. Fugata principally perform Nuevo Tango music by the Argentine composer Ástor Piazzolla. The quintet is one of the few independent groups to have produced and performed a fully staged production of Maria de Buenos Aires, the Tango Operita by Ástor Piazzolla and Horacio Ferrer. The group's name is an homage to Piazzolla's composition Fugata from the Nuevo Tango Suite Tangata Silfo y Ondina. The current quintet members are: Živorad Nikolić (accordion), Anastasios Mavroudis (violin), Antonis Hatzinikolaou (electric guitar), Anahit Chaushyan (piano), James Opstad (double bass).

The Octeto Buenos Aires was a legendary tango group formed in 1955 by the Argentine bandoneon player Astor Piazzolla. In 1958 the Octeto was disbanded and Piazzolla returned to New York City with his family where he struggled to make a living as a musician and arranger in the next stage of his career that would prove to be so ground-breaking in the history of tango. During his youth, Piazzolla had served his musical apprenticeship as a tango bandoneonist in a number of orquesta típicas, including those of Aníbal Troilo and Francisco Fiorentino. In his search for new ways of expressing himself musically Piazzolla formed his own orchestra of this type in 1946. Unsure of which way to turn he disbanded his orchestra in 1950 and began to study classical music which took him to Paris in 1954, where he studied classical composition and counterpoint with Nadia Boulanger. During his time in Paris, he had the opportunity of listening to many jazz groups, including the tentet of the saxophonist, Gerry Mulligan. Impressed by the enthusiasm of the musicians and the obvious pleasure they derived from improvising together, something he had not observed in the world of tango, he decided to form the Octeto de Buenos Aires on his return to Buenos Aires in 1955. Octeto Buenos Aires brief but significant history is considered the turning point between two eras and two types of tango. The ensemble pioneered nuevo tango, a new approach to tango which, until then, had been dominated by the traditional orquesta típicas of the 1930s and 1940s. This would mark a watershed in the history of tango and set Piazzolla on a collision course with the tango establishment. The Octeto Buenos Aires had a great influence upon some of the musicians who were thinking of different ways to modernize tango in the same time period. Piazzolla was carried away by a certain excess in the music he wrote for this octet, based on the classic tango sextet, with the addition of a cello and an electric guitar (something new for the time). However, seen in perspective, what seems like a chaotic explosion of creativity is instead based on an artistic manifesto that Piazzolla respected very strictly. This manifesto sought to place the commercial aspect in the background; to incorporate arrangements of classic tangos and as well as new creations into the repertoire; to not include sung works; and to not perform at dances, but only on radio, television or in concert, or for recordings. The works would be explained before executing them, in order to facilitate their understanding. The purpose of the project was to improve the quality of tango, convince those who had turned away from tango, as well as the genre's detractors, of tango's unquestionable values, attract listeners of foreign music, and conquer the general public. He chose the best musicians of the day: Roberto Pansera (later replaced by Leopoldo Federico) joined him on bandoneon with Atilio Stampone (piano), Enrique Mario Francini and Hugo Baralis (violins), José Bragato (cello), Aldo Nicolini (later replaced by Juan Vasallo on double bass) and Horacio Malvicino (electric guitar). Piazzolla's first arrangement for the Octeto was the tango Arrabal by José Pascual, which he had dreamed of playing since he first heard Elvino Vardaro’s version of it as a child. The Octeto created a new sound akin to chamber music and without a singer, normally part of an orquesta típica. Neither the jazz-like improvisations of Malvicino on electric guitar, for example in Piazzolla's 1955 composition Marrón y Azul, nor the cello solos of the classically trained Bragato had ever been heard before in tango. Initially he had difficulties balancing the sound of the Octeto due to the lack of strings, which meant that those he did have were required to play in an unusual way to compensate. The strings were also called upon to imitate percussion instruments and the two bandoneons had to play up to six-part harmonies. The piano and double bass provided the rhythmical force. Soon after the formation of the Octeto, Piazzolla began to wonder whether he had taken tango too far away from its roots, and called upon the highly respected Osvaldo Pugliese to adjudicate. Everyone was greatly relieved when, after listening to them perform, he reassured them that they were indeed still playing music within the genre. Piazzolla was tired of the constraints imposed by traditional tango and aimed to use his Octeto to introduce new rhythms, harmonies, melodies, timbres and forms, whilst maintaining the essence of tango. His inclusion of counterpoint, fugues and new harmonic forms was to stir up the first controversies among traditional tangueros which would later come to haunt him. His music was beginning to appeal less to dancers and more to people who would go to listen to his music. Nuevo tango had arrived and Piazzolla was in the vanguard. The complete repertoire of the octet included nineteen arrangements, of which eight are included on this album. Among the compositions, the beginnings of traditional tango are represented by Rosendo Mendizábal. The main composers of the Decarean school are also present, including Julio De Caro himself and the bandoneonist Pedro Maffia, as well as their highly regarded counterpart Juan Carlos Cobián, whose works were of great harmonic and melodic interest. Finally, several exponents of modern tango are included, such as Horacio Salgán and José Pascual, in addition to compositions by Horacio Malvicino and Piazzolla himself. The only surviving original manuscript of an arrangement of the Octeto Buenos Aires is that of the tango Arrabal, since Piazzolla burned a large part of his scores. The other seven arrangements included in the album had to be transcribed from the recordings, which were all commercially released except for Tierra Querida, preserved thanks to a non-commercial live recording of a 1956 concert held at Montevideo's Sala Verdi. The performances of the Octeto Buenos Aires were sporadic and its members were obliged to join other ensembles to make ends meet. They would, however, never derive the same satisfaction from these other engagements as from the Octeto. The Octeto made only a few recordings after Piazzolla had agreed to sign away rights to the royalties. Without precedent in tango, the Octeto Buenos Aires was an experimental project by Piazzolla, through which he proposed a new way of addressing the genre that required a new approach to listening to tango, much more arduous than that of traditional tango. The experience did not have enough public to be financially viable, and, furthermore, tango in general was on its way to a major crisis, in full struggle with other popular genres that were emerging, including rock, tropical music, the bolero, etc. The Octeto Buenos Aires lasted just two years but it left an indelible mark on the history of tango.

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

Astor Pantaleón Piazzolla (Latin American Spanish: [asˈtoɾ pjaˈsola], Italian: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as "the world's foremost composer of Tango music".

This is a Nonesuch Records discography, organized by catalog number.