Basso Bailando (2013)

Piazzolla, De Falla, Rota

Rick Stotijn

Simon Crawford, Mats Rondin

The Four Seasons of Buenos Aires

‘Tango, for me, was always for the ear more than the feet’. Thus Astor Piazzolla, the man who took one of the most popular dances in the western world to great heights. In so doing, he overstepped the border between popular and classical music time and time again. He was the master of the tango – not for bars and cafes, but for the concert hall. Perhaps his greatest achievement was to combine the classical Argentinian tango with the musical world of Debussy and Ravel, and to elevate it to ‘serious’ art. During his lifetime, Piazzolla witnessed the continuous transformation of the national dance of Argentina, and it was this gradual evolution that he wished to capture in musical notation, as in his Histoire du Tango.

From Mar del Plata in Argentina, where Astor was born in 1921, the family moved to the Little Italy district of New York, where his ears overflowed with American jazz and pop. But his father gave him a bandoneón, a large Argentinian concert instrument, so that he could keep alive the family’s ties with the culture of their homeland. Meanwhile, Astor studied classical music. In 1934 he already made recordings with the great Argentinian tango pioneer Carlos Gardel, who died soon afterwards in a plane crash. After returning to Argentina, Piazzolla played the bandoneón in a tango orchestra in Buenos Aires from 1936-1944. The amalgam of jazz and tango that he developed was an early version of what he was later to call tango nuevo.

In Argentina, however, classical music continued to tug at him. Through a chance meeting with the pianist Artur Rubinstein, Piazzolla came into contact with Alberto Ginastera, the leading Argentinian composer of the period. Years of involvement in classical music were to follow, under the guiding hand of Ginastera. In 1954, Piazzolla even went to Nadia Boulanger in Paris, the most famous composition teacher of the time. And it was through this experience that he got back on the track of the tango, for when Boulanger heard him play his own tangos, she told him to throw away all his other compositions. Back in his homeland he developed the tango nuevo, breaking with the traditional sound of the tango with which his countrymen were so familiar. Considerable antagonism was his reward, and even a punch-up in the streets. 


Piazzolla’s star rose quickly, however, particularly outside his country. He became famous for his ensemble Quinteto Tango Nuevo, founded in 1960, and his oeuvre grew to more than 750 modern tango compositions. In 1968 even the most hardened devotees of the traditional tango were won over by Maria de Buenos Aires, a stage production inspired by Gershwin’s Porgy and Bess. For the last twenty years of his life, Piazzolla was a national hero in Argentinia. Progressive classical musicians too, including the members of the Kronos Quartet, did not pass by his door. Astor Piazzolla died in Buenos Aires on 5 July 1992

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Rick Stotijn

Rick Stotijn received his first lessons at the age of eight, studied at the Conservatory in Amsterdam with his father Peter Stotijn where he graduated with the highest distinction. Later on he studied with Bozo Paradzik at the Hochschule in Freiburg. Rick won several first prizes at a.o the Princess Christina Competition, the Young Musical Talent Foundation and in 2013 the Netherlands Music Prize, which is the highest Dutch Music Award for young and talented musicians.

Many solo appearances at home and abroad were soon to follow including a Carte Blanche series in the small hall of the Concert gebouw Amsterdam. Rick Stotijn performs regularly as soloist with Orchestra’s such as the Swedish Radio Symphony Orchestra, Amsterdam Sinfonietta, Rotterdam Chamber Orchestra and the Arnhem Philharmonic Orchestra. Moreover he is very much in demand for chamber music concerts, performing with Janine Jansen, Jurgen Kussmaul, Gidon Kremer, Christianne Stotijn, Liza Ferschtman, Robert Holl, Mischa Maisky, Bram van Sambeek, Julius Drake, Candida Thompson and many others.

Rick is a regular guest at festivals such as the Lucerne Festival, Delft Chamber Music Festival and the International Chamber Music Festival of Janine Jansen in Utrecht.

Swedish Radio Orchestra

More than one hundred first-class musicians have the Berwald Hall in Stockholm as their home base. Together they form the Swedish Radio Symphony Orchestra, and since all concerts are broadcast live they also serve as a symphony orchestra for the whole of Sweden. 

The high calibre of the ensemble has been developed over the years by a series of prominent principal conductors. Founded in 1936, the Swedish Radio Symphony Orchestra developed into an ensemble of world standard in the 1960s under the leadership of the great Rumanian maestro Sergiu Celibidache (music director 1965–1971). Celibidache was succeeded by Herbert Blomstedt, who led the orchestra from 1977 to 1982. In 1984 the 25-year-old Esa-Pekka Salonen arrived, bringing fresh ideas and innovative repertoire, and ten years later Yevgeny Svetlanov took over the reins. Between 2000 and 2006 Manfred Honeck gave the orchestra a strong Viennese flavour.

Today the Swedish Radio Symphony Orchestra ranks among Europe’s foremost orchestras. During the current artistic leadership of Daniel Harding the orchestra has become one of the most interesting and diverse orchestras in the world, collaborating continuously with leading conductors, soloists and composers. 

A strong commitment to contemporary music is clearly reflected in the orchestra’s repertoire, and works by Swedish and international composers are frequently commissioned. The orchestra tours regularly in Europe, Asia and elsewhere, appearing at many important concert venues and at major festivals, and is also the backbone of the annual Baltic Sea Festival in Stockholm.


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Lavinia Meijer

Lavinia Meijer (born in South-Korea, 1983 and adopted into a Dutch family) started to play the harp at the age of 9. Within two years she was admissioned to study at the young talent class of the conservatory of Utrecht (Bachelor) and later at the conservatory of Amsterdam (Master). At both conservatories she graduated with Honours. Erika Waardenburg has been Lavinia’s principal teacher.

Her success at the conservatory of Amsterdam was a prelude on Lavinia’s career to come. She performed only contemporary compositions at her graduation concert, making a firm statement already: Lavinia is here to add new chapters to the history of music.

Besides performing the classic harp repertoire, Lavinia also experiments with electronic music, theatrical music, contemporary music, modern classics, jazz and pop. Several composers e.g. Paul Patterson (UK), Garrett Byrnes, and Jacob TV (Netherlands) have dedicated new compositions to her.

Already at a young age, Lavinia competed in several international harp competitions, winning prizes in the USA, France, Switserland, Israel, and Austria. Soon after her graduation Lavinia received the Borletti-Buitoni Trust Fellowship (London, 2006). In 2007 Lavinia was heralded as the “Rising Star” musician of her generation. She performed solo-recitals at concert halls like Musikverein (Vienna), Carnegie Hall (New York), Philharmonie (Köln), Jerusalem Theater, Seoul Arts Center, Royal Concertgebouw (Amsterdam), Cité-de-la-Musique (Paris), Konzerthus (Stockholm), and Symphony Hall (Birmingham, UK).

In 2009, at the young age of 26, Lavinia received the highest distinction for a classical musician in the Netherlands: the Dutch Music Prize. In 2011 she was the recipient of an Edison Award for her album Fantasies & Impromptus

As a featured soloist, Lavinia performed harp concertos with renowned orchestras, such as Royal Concertgebouw Chamber Orchestra Amsterdam, Israel Philharmonics, Amsterdam Sinfonietta, Noord Nederlands Orkest, and Seoul Philharmonic Orchestra. She performed with conductors such as Thierry Fischer, Frans Brüggen, Hannu Lintu, Thomas Ades and Marco Boni.

Her broad interest to find new sounds on and new compositions for the harp has let her to meet the American composer Philip Glass in 2011. He invited her to his concert in Amsterdam where she performed his Metamorphosis I-V on the harp. “You are the special effect of this evening”, he told Lavinia after the show, and he supported Lavinia to record a full album of Glass’ compostions. The result was overwhelming. Metamorphosis/The Hours received mostly 5 star reviews (not just in the Dutch press), and reached the certified Platinum status within half a year.

Mailin Broman

Malin Broman is a violinist much in demand as a soloist, chamber musician, teacher and orchestral leader. Raised in Kungsbacka, Sweden, Malin began playing the violin at the age of five. Early in her career, she was a prizewinner at numerous competitions including the Eurovision Broadcasting Union Competition and the Carl Nielsen International Violin Competition in Odense, Denmark. At the Washington International Competition for Strings, she gained both First Prize and the Audience Prize. Latterly, she won a scholarship to study with David Takeno at the Guildhall School of Music & Drama in London.


Malin has since forged a successful career as a soloist, performing with many orchestras across the world. Highlights of her solo career include performances with the Gothenburg Symphony, Copenhagen Philharmonic, BBC Scottish Symphony, Academy of St Martin-in-the Fields and the Swedish Radio Orchestra, working with conductors such as Heinrich Schiff, Neeme Järvi and Andrew Manze. In April 2011, Malin performed Brahms’ Double Concerto with Steven Isserlis and the Swedish Radio Orchestra conducted by Daniel Harding.

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Basso Bailando (2013)

Piazzolla, De Falla, Rota

Rick Stotijn

(...) eine schlichtweg grandiose Einspielung, in der die Qualitäten und Potentiale des Streichorchesters mustergültig zum Ausdruck kommen. (...) dynamisch weit aufgefächerten, klangfarblich detailgenauen Klangbild (...) erstklassige Produktion.


This disc demonstrates definitively that you do not need the basic tango quintet with bandoneon to transmit the strong emotional message of tango: it features only strings. (...) The Falla Spanish folk songs (without words) have echoes of Andalusian flamenco and the hi-res surround is perfect for the material.

    Audiophile Audition

(...) you don’t need the basic tango quintet with bandoneon in order to transmit the wonderful emotional message of tango music. (...) The hi-res surround is perfect for the material. (...) a great job of crossing over the borders between classical and popular music. -

The evocatively witty cover photograph on Rick Stotijn's wonderful new SACD 'Basso Bailando' gives an immediate flavour of the many delights contained on this disc. (...) his stunning playing and warm tone are a delight. (...) this is a more than worthy successor to Rick Stotijn's marvellous Bottesini disc.

Graham Williams

    Nederlands Dagblad

(…) Mooi dat Rick Stotijn voor zijn instrument geregeld muziek laat arrangeren die onder zijn handen een nieuw leven krijgt. (…)Stotijn maakt mooi gebruik van de enorme toonomvang van zijn instrument, dat hij laat zingen, soms met opvallende slidings.


    De Telegraaf -

(...) Stotijn is met zijn bas een grote verleider; de violist Malin Broman en het Zweeds Radio Symfonieorkest huilen en dansen met hem mee. (...) Een snoezige versie van De Falla’s Siete canciones populares españolas voor bas en harp (Lavinia Meijer).

    Opus Klassiek

(...) Rick Stotijn is een rasmuzikant die al eerder heeft bewezen dat hij zijn beurtelings ronkende, twinkelende, smachtende en diep geplukte instrument naar (bijna letterlijk!) grote hoogten op kon stuwen. Rick haald de contrabas uit zijn vastgeroeste orkestrale kaders, maar ook uit zijn 'geplukte' rol als begeleidingsinstrument. (...) deze uiterst geraffineerde bewerkingen zijn niet alleen een ware lust voor het oor, maar zullen ook door de kenners van het weerbarstige instrument zeker worden gewaardeerd. (...) De door Jared Sacks gemaakte opname staat als een casa.


(...) there ’s much to admire in the Dutchman’s soulful delivery of Piazzolla’s music, capturing the moods from the romantic to the menacing. (...) an effervescent performance (the Divertimento concertanto by Nino Rota) (...) Stotijn keeps our attention from his commanding first entry through to his ‘cheeky chappie’ characterisation of the finale’s rondo theme.

Basso Bailando (2013)

Piazzolla, De Falla, Rota

Rick Stotijn

Cables: van den Hul
Digital Converters: Grimm DSD AD
Mastering Engineer: Jared Sacks
Mastering Equipment: B+W 803 diamond series
Microphones: Bruel & Kjaer, Schoeps
Mixing Board: Rens Heijnis custom made
Producer: Jared Sacks
Recording Engineer: Jared Sacks
Recording location: Stockholm Sweden, Schiedam Holland
Recording Software: Pyramix
Recording Type & Bit Rate: DSD64
Speakers: Audiolab Holland

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33613: Basso Bailando
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Four Seasons - Otono Porteno
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Four Seasons - Invierno Porteno
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Four Seasons - Primavera Porteno
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Four Seasons - Verano Porteno
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Divertimento Concertanto - Allegro
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Divertimento Concertanto - Marcia
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Divertimento Concertanto - Aria
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Divertimento Concertanto - Finale
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7 Canciones - El Pano Moruno
De Falla
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7 Canciones - Asturiana
De Falla
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7 Canciones - Jota
De Falla
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7 Canciones - Nana
De Falla
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7 Canciones - Cancion
De Falla
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7 Canciones - Polo
De Falla
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