These films were made in 1985 and ’86, marking what was more or less the beginning of Piazzolla’s final creative period. The initial interview portion is essentially an autobiographical sketch that focuses on his early years, when he decided to sever his tango roots and establish himself as a classical composer. There’s a useful detour, where Piazzolla lays out the “surreal” history of the bandoneón – the accordion-like instrument whose velvety whine is so essential to tango music. He also makes some notable pronouncements along the way: that he views himself as a “nationalist” composer, believes that his music “is Buenos Aires”, and also that his personality is not at all like his music. “My music is melancholy, sad, violent, sometimes even religious. I’m not. I’m a very fun-loving person – a bon vivant.”

During the interview there are tantalising snippets of performances by one of Piazzolla’s later quintets, but the meat of the programme is devoted to studio performances of the composer’s orchestral music. Unfortunately the Double Concerto (for guitar and bandoneón) comes across as a bit too genteel here – a defect that seems the fault of conductor Pinchas Steinberg, as he is also responsible for producing a decidedly low-voltage account of Adiós Nonino, Piazzolla’s greatest hit. The Bandoneón Concerto is more highly charged, though the ensemble is a bit untidy in places. For the best of Piazzolla on DVD, try “Astor Piazzolla in Portrait” (Opus Arte, 9/05). The concert footage is far more compelling, and Mike Dibbs’s biographical documentary is superb.