the Wembley Conference Centre on June 30, 1989. On November 4, 1989, he gave a concert in Lausanne, Switzerland, at the Moulin à Danses and later that month he recorded his composition Five Tango Sensations, with the Kronos Quartet in the US on an album of the same name. This would be his last studio recording and was his second composition for the Kronos Quartet. His first Four, For Tango had been included in their 1988 album Winter Was Hard. Towards the end of the year he dissolved his sexteto and continued playing solo with classical string quartets and symphonic orchestras. He joined Anahi Carfi's Mantova String Quartet and toured Italy and Finland with them. His 1982 composition Le grand tango, for cello and piano, was premiered in New Orleans by the Russian cellist Mstislav Rostropovich and the pianist Igor Uriash in 1990 and on July 3 he gave his last concert in Athens, Greece, with the Athens Orchestra of Colours, conducted by Manos Hatzidakis. He suffered a cerebral hemorrhage in Paris on August 4, 1990, which left him in a coma, and died in Buenos Aires, just under two years later on July 4, 1992, without regaining consciousness. Among his followers, the composer and pianist Fernando Otero and Piazzolla's protégé, bandoneonist Marcelo Nisinman, are the best known innovators of the tango music of the new millennium, while Pablo Ziegler, pianist with Piazzolla's second quintet, has assumed the role of principal custodian of nuevo tango, extending the jazz influence in the style. The Brazilian guitarist Sergio Assad has also experimented with folk-derived, complex virtuoso compositions that show Piazzolla's structural influence while steering clear of tango sounds; and Osvaldo Golijov has acknowledged Piazzolla as perhaps the greatest influence on his globally oriented, eclectic compositions for classical and klezmer performers. Musical style Piazzolla's nuevo tango was distinct from the traditional tango in its incorporation of elements of jazz, its use of extended harmonies and dissonance, its use of counterpoint, and its ventures into extended compositional forms. As Argentine psychoanalyst Carlos Kuri has pointed out, Piazzolla's fusion of tango with this wide range of other recognizable Western musical elements was so successful that it produced a new individual style transcending these influences. It is precisely this success, and individuality, that makes it hard to pin down where particular influences reside in his compositions, but some aspects are clear. The use of the passacaglia