Marcelo Nisinman (1970-)
Der Makabere zirkus
Humans & Insects
Alberto's Tango

Johann Sebastian Bach (1685-1750)
Adagio, BWV 564

Gerardo Matos Rodriguez (1897-1948)
La Cumparsita

Vincente Greco (1888-1924)
Ojos Negros

Dietrich Buxtehude (1637-1707)
Prélude et fugue en ré, BuxWV 139

Enrique Delfino (1895-1967)
Griseta

José Pascual (1910-1918)
Arrabal

Juan Carlos Cobian (1888-1942)
Los Mareados

Marcelo Nisinman Trio

Alberto Mesirca, guitare, guitare électrique
Winfried Holzenkamp, contrebasse, ukulele
Marcelo nisinman, bandonéon

Depuis ses origines le tango a dansé et chanté avec la musique classique, lui empruntant ou lui prêtant avec un rare naturel. Poursuivant les explorations d'un Piazzolla, Marcelo Nisinman, compositeur autant que bandonéiste nous offre là un "cirque macabre" plein d'art et d'ironie. Le trio qu'il a constitué avec Alberto Mesirca (guitares) et Winfried Homzenkamp (contrebasse et ukulele) fait preuve d'une belle entente et complicité pour nous guider dans la diversité de ce répertoire à la frontière des époques, des genres et des styles, et non seulement des traditions (Nisinman est né en Argentine et vit et travaille à Bâle). Héritier de Piazzolla bien au-delà de l'imitation, Nisinman sait revisiter Bach ou Buxtehude aussi bien que les classiques du tango sans oublier quelques compositions originales, à tous les sens du terme (superbes "Humans & insects" ou "Alberto's tango" !) Si l'on entend le souvenir d'Astor (dont il a repris par ailleurs la "Maria de Buenos Aires"), on s'approche aussi parfois de Stravinski ou d'autres. Mariage des sonorités et des styles, de l'humour et de l'émotion font de cet album un magnifique moment "d'esprit tango". A ne pas laisser passer. (Marc Ossorguine)

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 Italianborn 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 17thcentury 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 forwardthinking arrangements of tango standards, with recognisable elements displaced, slowed, and restarted in new zones on the palette of instrumental colour. The bandoneo´n alternates between legato and staccato, its variety of touch and intensity representing the coexistence – peaceful or otherwise – of the sacred and profane within the tango idiom.