• The Siempre Hay Algo Nuevo is a two-CD set anniversary album. The first, Retrospectivois a musical overview of Luis Di Matteo’s compositional work in the period from 1976 to 1999, featuring characteristic examples from his repertoire. On the second and latest album, Tango y mas allá, based on the tango, milonga and candombé musical styles, electronic sounds, e-piano, synthesizer, and conventional instruments (such as cello, flute, drums, percussion and bandoneón), join to form a unified whole. 

  • This album represents an amazing musical trip by Di Matteo to the roots of tango– the African-based rhythms of Candombe. In Uruguay the descendants of  slaves danced to this rousing music with pronounced hip movements. Candombe is played on three drums: the “Piano” (low register / bass), the “Repique” (medium register/tenor) and the “Chico” (high register/alto). 

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    Retrospectivo

    16,00  10,00 

    Retrospectivo is a musical overview of Luis Di Matteo’s compositional work in the period from 1976 to 1999, featuring characteristic examples from his repertoire.

  • The album continues the‘stringed experiments’ of Di Matteo. Here, the artist presents compositions  for bandoneon and string quintet, recorded with soloists from the symphonic orchestras in Montevideo. 

  • Del Nuevo Ciclo contains compositions for chamber orchestra by Di Matteo, recorded in Uljanowsk, Russia, with the Uljanowsk Chamber Orchestra. 

  • Tango

    16,00 

    This CD comprises the first two albums recorded by Luis Di Matteo in Germany ― Tango Contemporáneo and Le Dernier Tango. Here, the bandoneon, oboe, double bass, piano and drums are enrolled to serve the soothing style of Tango Nuevo. The compositions for Tango Contemporáneo have all originated in Montevideo (Uruguay), whereas Le dernier Tangocontains three works composed by Di Matteo in Detmold (Westphalia Region, Germany).

  • This is Di Matteo’s first album with solo bandoneon compositions. When listening to this album, the listener cannot help but notice the unusual mastery enabling Luis to make his instrument, often designated as a clumsy one, sound “like a whole orchestra”.  All of a sudden, the bandoneon becomes the true voice of tango for us.