22 PIAZZOLLA | ESTACIONES PORTEÑAS ∙ ACONCAGUA ∙ OBLIVION How does this sentimentality come across in his music? It is what Olivier Calmel calls his “sugary” side, which I find soothing. I would compare it to the honey that the Romans used as a balm to treat their wounds and prevent infection. It is a necessity: that sweetness is required to soothe open sores. It is a caress that Piazzolla offers to the listener. Yet the concerto does not end on this tenderness, but in the most extraordinary manner: we have the impression of gladiators entering the arena… It is tremendously galvanising music! The timpani is missing in order to give rhythmic drive to the moment, so we contrived an alternative solution: we stamped on our feet to create a deafening racket — and it works brilliantly!
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