Let’s Tango!

Astor Piazzolla composer
Carlos Gardel composer

Duo Cello e Basso
Pascale Delache-Feldman double bass
Emmanuel Feldman cello

Victor Cayres piano

Release Date: December 8, 2023
Catalog #: NV6568
Format: Digital
20th Century
Double Bass

On LET’S TANGO, Duo Cello e Basso with French double bassist Pascale Delache-Feldman and cellist Emmanuel Feldman invites listeners to experience some of the celebrated genre’s greatest masterpieces. Joined by pianist Victor Cayres, the centerpiece of the album is the duos’ arrangement of Piazzolla’s Four Seasons of Buenos Aires that they perform in concerts around the United States including a recent appearance at the Kennedy Center in Washington DC. Other Piazzolla works with piano include Kicho, an original work for solo double bass and Le Grand Tango, written originally for cellist Mstislav Rostropovich. The album also includes a trio arrangement of Por una Cabeza and El Dia que me Quieras by famed 20th century tango composer Carlos Gardel. Full of the longing and passion characteristic of tango music and paired with the rich dynamic range of the bass and cello, LET’S TANGO offers fresh new interpretations of these classic works.


Hear the full album on YouTube

Track Listing & Credits

# Title Composer Performer
01 El Dia Que Me Quieras Carlos Gardel arr. Duo Cello e Basso, Regis Prudhomme Emmanuel Feldman, cello; Pascale Delache-Feldman, double bass; Victor Cayres, piano 4:42
02 Por Una Cabeza Carlos Gardel arr. Duo Cello e Basso, Regis Prudhomme Emmanuel Feldman, cello; Pascale Delache-Feldman, double bass; Victor Cayres, piano 3:19
03 Kicho for double bass and piano Astor Piazzolla Pascale Delache-Feldman, double bass; Victor Cayres, piano 6:52
04 Le Grand Tango for cello and piano Astor Piazzolla Emmanuel Feldman, cello; Victor Cayres, piano 11:05
05 Five Tangos for cello and double bass: J'attends Astor Piazzolla arr. Andreas Wiebecke-Gottstein Emmanuel Feldman, cello; Pascale Delache-Feldman, double bass 3:15
06 Five Tangos for cello and double bass: La Misma Pena Astor Piazzolla arr. Andreas Wiebecke-Gottstein Emmanuel Feldman, cello; Pascale Delache-Feldman, double bass 2:53
07 Five Tangos for cello and double bass: Saint Louis en L'Ile Astor Piazzolla arr. Andreas Wiebecke-Gottstein Emmanuel Feldman, cello; Pascale Delache-Feldman, double bass 2:45
08 Five Tangos for cello and double bass: Guardia Nueva Astor Piazzolla arr. Andreas Wiebecke-Gottstein Emmanuel Feldman, cello; Pascale Delache-Feldman, double bass 3:52
09 Five Tangos for cello and double bass: Adios Nonino Astor Piazzolla arr. Andreas Wiebecke-Gottstein Emmanuel Feldman, cello; Pascale Delache-Feldman, double bass 4:38
10 Four Seasons of Buenos Aires: Verano Porteño (Summer) Astor Piazzolla arr. José Bragato, Duo Cello e Basso Emmanuel Feldman, cello; Pascale Delache-Feldman, double bass; Victor Cayres, piano 6:59
11 Four Seasons of Buenos Aires: Otoño Porteño (Autumn) Astor Piazzolla arr. José Bragato, Duo Cello e Basso Emmanuel Feldman, cello; Pascale Delache-Feldman, double bass; Victor Cayres, piano 5:44
12 Four Seasons of Buenos Aires: Invierno Porteño (Winter) Astor Piazzolla arr. José Bragato, Duo Cello e Basso Emmanuel Feldman, cello; Pascale Delache-Feldman, double bass; Victor Cayres, piano 6:39
13 Four Seasons of Buenos Aires: Primavera Porteña (Spring) Astor Piazzolla arr. José Bragato, Duo Cello e Basso Emmanuel Feldman, cello; Pascale Delache-Feldman, double bass; Victor Cayres, piano 4:28

Recorded August 23-26, 2019 at Jordan Hall, New England Conservatory in Boston MA
Recording Session Producer Jesse Lewis
Recording Session Engineer Christopher Moretti
Editing Karl Doty
Mixing Christopher Moretti
Mastering Jesse Lewis, Christopher Moretti

Executive Producer Bob Lord

A&R Director Brandon MacNeil
A&R Chris Robinson

VP of Production Jan Košulič
Audio Director Lucas Paquette
Production Manager Martina Watzková
Production Assistant Adam Lysák

VP, Design & Marketing Brett Picknell
Art Director Ryan Harrison
Design Edward A. Fleming
Publicity Aidan Curran
Digital Marketing Manager Brett Iannucci

Artist Information

Duo Cello e Basso


Described by NPR's Ron Schachter as "a musical Lewis and Clark, opening up new musical territories," Duo Cello e Basso “unites passion with elegance” (Boston Globe). Cellist/composer Emmanuel Feldman and double bassist Pascale Delache-Feldman partner to perform repertoire ranging from Bartok, Mozart, and Rossini to Feldman, Pinkham, and Schnittke. With more than 20 commissions and premiers to their credit, the duo creates dynamic programming that surprises and energizes audiences.

Pascale Delache-Feldman

Double Bass

Praised by the New Music Connoisseur for her “technical certainty and musical imagination,” French double bassist Pascale Delache-Feldman has been described as “a gifted colorist who produced an entire range of orchestral effects” (Boston Phoenix). In her recent appearance at the Kennedy Center, Delache-Feldman performed her own arrangement of Astor Piazzolla’s Four Seasons of Buenos Aires, which is included in her Navona Records album LET’S TANGO with Duo Cello e Basso and pianist Victor Cayres. Other recital credits include performances at Radio France; Franz Liszt Academy, Hungary; and Teatro Victoria Eugenia, San Sebastian, Spain. As a soloist, she has performed with the Merrimack Valley Philharmonic, the North Shore Philharmonic, and the Greensboro Festival Orchestra.

Emmanuel Feldman


Hailed by John Williams as “an outstanding cellist and truly dedicated artist,” Emmanuel Feldman performs in the United States and abroad as a soloist, chamber musician, and composer. Described by Gramophone as “an artist who combines communicative urgency with tonal splendor,” Feldman’s recent release Our American Roots (Delos) includes Pulitzer Prize winning composer George Walker’s cello sonata. An enthusiastic collaborator, he has partnered in a wide range of performances with Bobby McFerrin, the Mark Morris Dance Group, Verona String Quartet, and Boston Pops. 

Victor Cayres

Victor Cayres


Hailed as “spirit of a leader!” by La Liberté (Fribourg, Switzerland), Brazilian pianist Victor Cayres has earned praise for concerts with the Sine Nomine string quartet and as soloist with such orchestras as Boston Pops and Brno Philharmonic in the Czech Republic. He has been a guest artist at Banff Center for the Arts in Canada, Interlochen Center for the Arts, Boston University Tanglewood Institute, Claflin University, Illinois Wesleyan University, Western Washington University, Moscow’s Tchaikovsky Conservatory and State University for Arts and Culture. He has released recordings for Albany Records, PARMA Recordings, and Centaur Records with works by American contemporary composers David Owens, Joseph Summer, and John H. Wallace. Cayres frequently performs in Brazil, Europe, South Korea, and in prestigious venues in the United States such as Weill Hall at Carnegie Hall, Chicago’s Preston Bradley Hall, Boston’s Symphony Hall, and Jordan Hall. His concerts have been broadcast live at Brazil’s TV Cultura channel, Boston’s WGBH 99.5 All Classical, and Chicago’s WFMT Fine Arts Radio.

Cayres has appeared as soloist with NEC Philharmonia, Sioux City Symphony Orchestra, Symphony Pro-Musica, Boston University Symphony Orchestra, Orquestra Petrobras Pró-Música, Orquestra Sinfônica Brasileira, Orquestra Sinfônica, and Orquestra de Câmera at University of São Paulo, collaborating with such conductors as Ronaldo Bologna, Mark Churchill, Marc David, Ryan Haskins, Gil Jardim, Keith Lockhart, Norton Morozowisk, Donald Palma, Roberto Tibiriçá, and Jan Zbavitel. Under the direction of Theophanis Kapsopoulos, he has toured the Czech Republic and Switzerland with the Orchestre des Jeunes de Fribourg.

Cayres has gathered several prizes in national and international piano competitions, including the 8th Iowa Piano Competition, Boston University Concerto Competition and Richmond Piano Competition, 18th Leoš Janáček International Piano Competition in Brno (Czech Republic), Gina Bachauer South American Competition, Nelson Freire International Competition, Petrobras International Competition, Magdalena Tagliaferro Competition, Artlivre International Competition, as well as European competitions such as Sommerfestspiele Klavier Wettbewerb in Murten, Switzerland.

Cayres studied at Ernst Mahle Music School with Rosélys Alleoni, earning a Bachelor’s degree in piano performance at University of São Paulo with Gilberto Tinetti and Eduardo Monteiro. He also earned a Master’s degree at New England Conservatory studying with Wha Kyung Byun and chamber music with Richard Stoltzman, as well as a Doctor of Musical Arts degree at Boston University studying with Anthony di Bonaventura. Cayres’s D.M.A. dissertation “The Piano Works by Leopoldo Miguéz (1850 – 1902)” is a continuous source of interest in his concert programming, making sure that the works of this relatively unknown Brazilian composer are frequently heard in Brazil and abroad.

He also studied for one year at the Hochschule für Musik in Karlsruhe, Germany, while appearing in concert venues in Switzerland. He previously served as Keyboard Area Coordinator and Piano Instructor at Eastern Illinois University Department of Music. Currently, he serves on the piano faculty at New England Conservatory Preparatory School and as a visiting lecturer in piano and collaborative piano at Boston University School of Music, as well as Co-Director for Boston University Tanglewood Institute Young Artists Piano Program.



Carlos Gardel (1890-1935) played a vital and powerful role in popularizing Tango music. He was born in Toulouse, France and later as a young child, moved with his mother to Argentina. As immigrant families arrived in America, they sang traditional songs together to keep memories of their homeland alive in their adopted country. Argentinian musicians then wrote melodies inspired by their own folk tradition that grew into the character of Tango music which is melancholic, longing, and heartfelt. As Gardel began to sing locally in Buenos Aires, his reputation spread, and he soon started touring with various Tango bands and ensembles. Through these tours, his career grew quickly with one of his first recordings, Mi Noche Triste, selling 10,000 copies and then later in 1928, during a three-month visit to Paris, he sold 70,000 recordings. Gardel was active in cinematic life and made films with the Paramount studio, principally in the 1930’s. His life story was told in the film The Life of Carlos Gardel, which was released posthumously. Gardel’s popular songs have become household names and for many, embody the very soul of the tango style. Tragically in 1935, he died at age 44 in an airplane crash along with his band members, the same year that he wrote his celebrated Por Una Cabeza. The circumstances of his death in the history of Tango music bears noting, that a young child prodigy was asked to board that same airplane, the 14 year-old Astor Piazzolla. Piazzolla was an incredibly gifted musician who had been recruited to tour with Gardel’s group throughout Latin America. Piazzolla’s father firmly decided that the boy was too young to go on tour, and that very fateful act ensured that the next chapter of Tango music, the birth of the Nuevo Tango pioneered by Piazzolla and his ensemble, would become a worldwide sensation.

El Dia que me Quieras approximately translates to “the day that you love me,” or “the day you will desire me.” Considered to be one of the top Latin songs of all time, El Dia que me Quieras became a huge hit even outside of the realm of tango, subsequently becoming a cover song by various artists such as Luis Miguel, Julio Iglesias, Michael Bolton, Roberto Carlos, Raphael de España, and Shlomo Idov, who translated the song to Hebrew. It also made its way into the classical standards with performances by tenors Plácido Domingo and José Carreras.

Meaning literally “by a head,” Por Una Cabeza refers to a horse winning a race narrowly by just the tip of its head. With music by Gardel and lyrics by Alfredo Le Pera, who became one of his longtime collaborators, it depicts the story of a gambler’s addiction to horse races and his race or quest for women, which serves as a double entendre for this intriguing and sensual song. Por Una Cabeza is featured in the famous tango scene in Martin Brest’s film Scent of a Woman (1992) starring Al Pacino, as well as in the opening scene of Steven Spielberg’s Schindler’s List (1993) and in James Cameron’s True Lies (1994).

— Emmanuel Feldman

Astor Piazzolla (1921-1992) was an Argentinian composer and bandoneón player born to Italian immigrant parents. He lived in Mar del Plata, Argentina with his parents and later, moved with his family to New York City where his father bought him his first bandoneón, a folk instrument closely related to the accordion that came to be used in Tango music. After learning to play the bandoneón and writing his first tango piece La Catinga, he then took lessons with Béla Wilda, a classical pianist who taught him to play the music of J.S. Bach on his instrument. The family then returned to Argentina and Piazzolla joined bandleader and bandoneón player, Anibal Troilo to play in his orchestra. In the 1950’s, Piazzolla followed the advice of the great pianist, Arthur Rubinstein who was living in Buenos Aires at the time, to study orchestration with Alberto Ginastera. It was then that he composed his Buenos Aires Symphony in Three Movements. The premier of the symphony prompted a scandalous fight in the audience, sparked by the use of the bandoneón in a classical orchestra! At Ginastera’s suggestion, he entered his Symphony in a competition and won a scholarship to study with Nadia Boulanger in Paris, which proved to be a galvanizing turning point in his career. While studying composition with Boulanger, Piazzolla invited her to hear his band perform in Paris. Later after hearing his Triunfal, she was completely taken in by his masterful playing and inspired and mesmerizing Tango writing. She then advised Astor, who at that moment was pursuing a classical music path, to be true to his musical roots and expand his genius for the composition of Tangos. The techniques he learned with Boulanger lead to his subsequent use of advanced counterpoint and daring compositional and harmonic structure in his music, which he used to great effect in his works. The inspired young composer and virtuoso bandoneón player went on to become the leader of his own bands, which expanded to many new combinations over the years. With Piazzolla, traditional Tango was transformed by incorporating elements of Jazz and Classical music with more advanced rhythmic structure as well as expanding the harmonic form and the use of free improvisation. As his career expanded, he wrote film scores, was a guest with the Buenos Aires Philharmonic and other prominent orchestras, performed at the Montreal International and Montreux Jazz Festivals and collaborated with artists including the Kronos String Quartet, pianist and composer Lalo Schifrin, and cellist Mstislav Rostropovich. He wrote Tango hits like Liber Tango, Oblivion, and Adios Nonino, to name only a few that have captivated audiences the world over.

Piazzolla wrote Kicho in celebration of his favorite bass player in his band, Enrique “Kicho” Diaz who joined Piazzolla’s first quinteto in 1960. So great was his influence as the bassist in many prominent Argentinian Tango bands, the Legislature of Buenos Aires declared Diaz “Tango Double Bass Player of the Century.” This daring and emotional piece truly showcases the bass’s surprising lyrical qualities and equally powerful rhythmic strength. Kicho opens with a collection of written cadenza sections chosen by the bassist to perform in an improvisational style, the performer choosing to play any of the cadenza sections in any order suiting the player’s own personal preference. On this recording following her opening cadenza, Pascale Delache-Feldman along with pianist Victor Cayres arranged to introduce the principal theme on the bass accompanied by percussion on the piano. Its jagged and driving tango rhythms are then taken up by the piano and then further expanded by the bass. In the ensuing heartfelt and poignant middle section, Piazzolla explores and develops this melancholic and sensual melody before circling back to the rhythmic content and drive of the principal theme leading to a triumphant finish.

Le Grand Tango was written in 1982 in Paris for the great Russian cellist Mstislav Rostropovich. This piece received its premier later in 1990 in New Orleans and has since become a staple of the cello’s recital repertoire. Piazzolla takes full advantage of the cello’s bel canto voice to soar into expansive melodies that are an essential component of his unmistakable signature style found in many of his works. Additionally, there are markings in the score directing the players to play “libero e cantabile” or to sing with freedom. A driving and passionate opening theme led by the cello in the beginning of the piece yields way to tender and lyrical sections that artfully intermingle solo turns by the piano and cello. Written with the full range of the cello in mind, Piazzolla incorporates rich idiomatic writing for the instrument that utilizes double-stops, artificial harmonics, glissandi, and other striking effects. As the piece nears its conclusion, the cello and piano enter into a hypnotic ostinato passage, the cello passionately playing in octaves in the high register while the piano plays variations and improvisations that gives way to a lightning fast 16th note jazz/tango run shared by both players that ends like a shooting star with a dramatic glissando to a high A. Having played this incredible piece over many years, I have taken the liberty to modify a few passages to play some of the cello part in a higher tessitura adding some extra variety and excitement to a truly tour de force piece.

Piazzolla’s Five Tangos performed on this recording were transcribed as a set for cello and double bass by Andreas Wiebeke-Gottstein with additional arranging by Duo Cello e Basso. These popular transcriptions are also frequently played in a version for violin and double bass.

J’attends, the first Tango of the set, is powerful and melancholic, its title directly translated from the French meaning “to wait,” or truer to the Tango genre, to wait for a lover. The mysterious La Misma Pena or “the same penalty” comes from the lyrics of the song referring to the pain of love. The music itself is dramatic, wistful, and rhythmic with this arrangement ending pensively and unresolved. Saint Louis en L’Ile refers to Ile St. Louis in Paris and is dedicated to the French cellist, Yves Baquet. The music depicts the hustle and bustle of Paris with slower sections portraying the suave and more cultured side of Piazzola’s writing. Guardia Nueva or “new guard” refers to Tango music reaching its apex on the world scene and of the rise of Nuevo Tango composers. This tango is relaxed, creatively melodic, and utilizes more ornamentation of the melody that is shared as a free dialog between the instruments. To round out the set, Adios Nonino, one of Piazzolla’s most famous Tangos written in memory of the passing of his father presents music that is both alternatively fierce and passionate which then yields to a more tender and loving voice. This piece has great emotional content and brings the Five Tangos to a close with this deeply felt homage.

Traditionally performed as a set, Piazzolla’s Cuatro Estaciones Porteñas or Four Seasons of Buenos Aires were individually composed starting with Verano Porteño (“Summer”) written in 1965 for the play Melenita de Oro by Alberto Rodríquez Muñoz. The other three movements — “Autumn,” “Winter,” and “Spring” — were later composed in 1969-1970 and were intended to be performed using that order with “Summer” as the last movement. Compared with Vivaldi’s Seasons written in Italy, this order is different, perhaps due to the reverse order of the seasons in the southern hemisphere of Argentina. The version presented on this recording is in chronological order starting with Piazzola’s first written season, Summer. The Four Seasons of Buenos Aires were first performed as a set in 1970 in Paris by Piazzolla’s Quintet (first Quinteto) with Piazzolla on the bandoneón and other performers on the violin/viola, electric guitar, double bass, and piano. An incredibly popular and successful composition, there have been many transcriptions of Piazzolla’s Seasons, including a version performed by violinist Gideon Kremer and very notably, the excellent piano trio version by José Bragato. In this version by Duo Cello e Basso, the piano trio transcription of Bragato is arranged and optimized for this combination. Taking our inspiration from Piazzolla’s free use of the extended tessiture of the bass in Kicho and by bringing the cello directly into the violin range, these changes create a solo intensity in the cello themes and a warmth and richness to the bass melodies, which when married to the symphonic resonance of the piano, brings together a unique new sound for this arrangement of the seasons.

— Emmanuel Feldman