Internationally-renowned Serbian-Austrian classical accordionist Jovica Ivanovic has released his newest album — PIAZZOLLA & GALLIANO — with Navona Records. The program features concertos from Astor Piazzolla and Richard Galliano, both legends in their own rights. Recorded with the Ukrainian Chamber Orchestra, Ivanovic’s performances bring these masterworks to life with persuasive passion. PIAZZOLLA & GALLIANO is the result of Ivanovic's partnership with violinist Valeriy Sokolov. With Ivanovic's capable hands on the accordion, Sokolov as concertmaster and Protasov as conductor of the chamber orchestra, the three set out to recreate the music of these two much revered composers. The album opens with Piazzolla's Aconcagua, a concerto for bandoneon, string orchestra, and percussion. The music bursts forth from the outset, full of the tantalizing excitement of Argentinian tango. Ivanovic’s sensitive-yet-fiery style immediately sets him apart; the soloist glides effortlessly above the orchestra, lending a rich voice to the melody. It is not lost on Ivanovic that Piazzolla himself especially loved this piece, playing the bandoneon himself at performances in the 1980s. Ivanovic treats Aconcagua with the same loving care as its composer did. And, now, thanks to state-of-the-art recording technology, we hear each note with sublime clarity. Galliano’s Opale Concerto is a mix of Balkan, nostalgic Parisian, and American influences. From the outset, Opale is a pulse-quickening adventure; Ivanovic reveals the depths of his classical training by making every fiery note sound rounded and deliberate. As with Aconcagua, Ivanovic’s performance of this piece makes clear that it is particularly dear to his own heart. The music of PIAZZOLLA & GALLIANO is perennially contemporary and exciting. Bridging cultures and generations, it speaks deeply to the human heart. Ivanovic’s virtuosic performances are supple and thoughtful.

Around Gershwin is star accordionist Richard Galliano's tribute to George Gershwin, in-terweaving his music with works by early twentieth-century composers such as Debus-sy, Rachmaninoff, Satie, Ravel and Faure, as well as new compositions of his own. Seen through the lense of Galliano's masterful musicianship, these pieces create the sensa-tion of a sonic odyssey.

The accordion surely is an evocative instrument, its mere timbre conjuring mellow images of the Italian Riviera or cobbled Parisian streets. One would expect it to be quite out of place in the relatively formal environment of the classical concert hall – and be sorely mistaken, as far as Richard Galliano is concerned. The versatile French composer and accordion virtuoso sets out to elegantly shatter expectations – and his new album MADREPERLA proves him right.

MADREPERLA’s brilliance stems not only from the sheer audacity of juxtaposing the accordion with a full orchestra, nor from the fact that it succeeds spectacularly in doing so. What’s most intoxicating is Galliano’s fusion of symphonic writing with eclectic styles of dance – the pavane, the mazurka, the milonga, the forro, the waltz – whose particular zest, allure and elan pour forth torrentially from these compositions. A triumph.