Piazzolla in the hands of a new generation - with passion, freedom,and virtuosity. The fourth Supraphon album by the 21-year-old performer Daniel Matejcabrings a change of genre. Following virtuosic sonatas by Eugene Ysaÿe (2023),a chamber music album with pianist Jan Schulmeister (Suk, Martinu, Fiser,2025), and exciting concertos by Shostakovich and Prokofiev withthe Prague Radio Symphony Orchestra and Tomas Netopil (2025), the focusnow turns to tango nuevo, inseparably associated with astor Piazzolla.Besides the Argentine tango, his language as a composer reflects not onlythe contemporary classical music he studied in Paris under Nadia Boulanger,but also jazz and especially the music of Bach, which Piazzolla played onthe bandoneon to the surprise of many people. On a map, Piazzolla would liealong an imaginary axis between Buenos Aires, Paris, and New York. It maywell have been this breadth of inspiration that captivated Daniel Matejca, whoplays piano and percussion as well as violin (not to mention the wide rangeof genres he performs) and the exceptional accordion player Martin sulc,whose palette of colours ranges from intimacy to an almost orchestra fullnessat times. Their flawless ensemble is a given; what is more striking isthe degree of freedom and expressivity they bring to it. Both suites (Suite delangel, Histoire du Tango) contain clearly audible echoes of Piazzolla's studiesin Paris. Of course, the album could not omit Ave Maria, Oblivion, Escualo,and Finale, irresistible works that alone would be enough to secure Piazzolla'simmortality. This recording by two young musicians captivatedby the Argentine legend may well contribute to that lasting legacy.