Kite Party - Come on Wandering - VINYL LP

Kite Party - Baseball Season [VINYL LP] date 06/25/2013

Johannes Brahms exhibited a noticeable disposition to paired works, composing 2 serenades, 2 piano concertos, 2 sonatas for cello and clarinet and likewise 2 string sextets. The first sextet, in B flat major, op. 18 reflects the work-filled time he spent in Detmold. Brahms began working on the second sextet in G, op. 36 in September 1864. That Christmas, he sent Clara Schumann it's first three movements, completing the work in May 1865. On this record, the soloist ensemble of the Concertgebouw Orchestra, Amsterdam plays both sextets.

Argentinian bandoneonist, composer and arranger Marcelo Nisinman is one of the most remarkable musicians active in the field of post-Piazzolla Buenos Aires tango. Without adhering too closely to Piazzolla or falling in with the vintage trappings of revivalist tango, Nisinman has forged his own personal, compelling path, in a direction that challenges tradition, embraces modernism, and establishes an intelligent link between Argentinian tango and a particularly European form of the genre, a reflection of the duality of Nisinman's roots and the cultural sphere of his adopted home. A reflection, as well, of his inspired choice of colleagues. Joining him in the Nisinman Trio are Europeans Alberto Mesirca on classical and electric guitars and Winfried Holzenkamp on bass and ukulele. Holzenkamp went to Buenos Aires to study tango bass with Horacio Cabarcos and He´ctor Console, while the Italian-born Mesirca is a classical guitarist by training and in style, but with a knowledge of Sephardic music and of the Baroque lute and guitar repertoire. The Baroque era is represented on this album, in fact, in two non-tango arrangements Bach's Adagio and 17th-century organist-composer Dietrich Buxtehude's Prelude in D. While respecting the original contrapuntal wealth of these pieces, Nisinman takes them into very different tonal territory. A formidable and innovative composer in the genre, his relationship with the tango tradition is mediated by an acute sense of the contemporary, as is evidenced by the three originals on the album. But Nisinman's approach to arranging is aptly defined by the German term Bearbeitung, implying recomposition and reinvention of the various musical parameters involved. His own compositions and those of the two giants of the Baroque stand in evocative relief against forward-thinking arrangements of tango standards, with recognizable elements displaced, s