A bold and deeply collaborative venture, Julien Labro’s work with the Takács Quartet brings the bandoneón into luminous conversation with one of the world’s most celebrated chamber ensembles. Their partnership, developed through the Music Accord consortium, includes two major commissioned works: Bryce Dessner’s Circles, written during the pandemic as a meditation on reconnection and musical dialogue, and Clarice Assad’s Clash, an emotionally charged exploration of rhythm, speech, and human behavior. Labro adds his own voice with Meditation No. 1, a work shaped by early-morning stillness during the shutdown, reflecting moments of solitude, clarity, and renewal.
Framed alongside music by Dino Saluzzi, J.S. Bach (in Labro’s arrangement), and Labro’s Piazzolla-inspired Astoración, and anchored by the Takács Quartet’s performance of Ravel’s String Quartet in F Major, the program expands the expressive possibilities of the string quartet and bandoneón. This collaboration is documented on a critically acclaimed recording and earned Labro a Latin Grammy nomination. Looking ahead, Labro and the Takács Quartet continue to develop new programs—expanding the Meditations series and exploring repertoire that brings together Bartók, Piazzolla, and additional cross-genre works.
A dynamic collaboration blending classical rigor with the pulse of tango and contemporary Latin influences, the Vieaux–Labro Duo brings together Grammy-winning guitarist Jason Vieaux and internationally acclaimed bandoneonist and accordionist Julien Labro. Since first meeting in 2007, the pair have toured widely across North America, captivating audiences with original arrangements and repertoire rooted in the music of Astor Piazzolla, alongside works by Gnattali, Brouwer, Metheny, Arvo Pärt, and others, featured on their albums Piazzolla and Infusion.
Beyond the recital stage, the duo has appeared with leading orchestras including Orchestra of St. Luke’s and A Far Cry, performing Piazzolla’s Double Concerto, Labro’s orchestral arrangement of The Four Seasons of Buenos Aires, and premiering Labro’s own double concerto Canvas, commissioned by the New West Symphony. Drawing inspiration from the dance halls of Buenos Aires to the rhythms of Brazil—with thoughtful detours to Europe—the Vieaux–Labro Duo offers presenters a vibrant, audience-friendly program that bridges genres with clarity, depth, and expressive range.
Sacred vs. Profane: The History of the Bandoneon traces the remarkable journey of an instrument whose story spans continents, cultures, and musical worlds. Invented in 19th-century Germany for devotional music, the bandoneon was originally intended to bring the sound of the organ into small churches and community gatherings. Over time, the instrument crossed the Atlantic and found a new voice in the cafés, dance halls, and streets of Buenos Aires, becoming the unmistakable voice of tango.
In this program, Julien Labro explores that transformation through a musical narrative moving from Bach and Franck to Piazzolla and contemporary composers. Blending classical repertoire with tango and modern works, the recital reveals the bandoneon’s unique voice — capable of both prayerful introspection and fiery passion — and highlights how one instrument came to bridge the worlds of sacred tradition and expressive dance.
Beyond Piazzolla traces tango’s evolution from its early dance origins to its transformation into a contemporary chamber language. Born in the cafés and dance halls of Buenos Aires, tango emerged as a music of migration, longing, and rhythmic vitality. Early works by Ángel Villoldo reveal its dance roots, while Stravinsky’s Tango reflects the genre’s early resonance beyond Argentina.
With Carlos Gardel, tango found its voice, shaping its poetic and emotional identity. Astor Piazzolla later transformed the music for the concert stage, expanding its harmonic language, formal scope, and ensemble dialogue. In works by Diego Schissi, Osvaldo Golijov, Pablo Aslan, and Fernando Otero, tango continues to evolve—honoring tradition while embracing new colors, forms, and contemporary expression.
