{"id":4705,"date":"2016-08-03T10:28:07","date_gmt":"2016-08-03T17:28:07","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=4705"},"modified":"2016-08-03T11:42:35","modified_gmt":"2016-08-03T18:42:35","slug":"video-pick-of-the-week-guitar-duo-km-play-astor-piazzollas-haunting-oblivion","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/video-pick-of-the-week-guitar-duo-km-play-astor-piazzollas-haunting-oblivion\/","title":{"rendered":"Video Pick of the Week: Guitar Duo KM Play Astor Piazzolla\u2019s Haunting \u2018Oblivion\u2019"},"content":{"rendered":"<p><a href=\"http:\/\/www.duokm.com\/duo-km\/duo-km-english\" target=\"_blank\">Guitar Duo KM<\/a> is German Katrin Klingeberg and Chilean Sebasti\u00e1n Montes, who have been playing together since meeting at the University of Music (<span class=\"st\">Hochschule f\u00fcr Musik)\u00a0<\/span>in Hanover, Germany, in the early 2000s. Together and separately they have traveled the world, won (and judged) numerous guitar competitions, recorded solo and duo albums, played with orchestras and chamber groups, and generally done all the cool and exhausting things that top-tier performers are asked to do.<\/p>\n<p>Like so many duos these days, Klingeberg and Montes have embraced the music of the great Argentine composer <a href=\"http:\/\/www.piazzolla.org\/\" target=\"_blank\">Astor Piazzolla<\/a>, here taking on his popular piece \u201cOblivion,\u201d which dates back to the early \u201970s and was first recorded with Piazzolla on bandoneon fronting an eight-piece \u00a0group (four strings, piano, bass, guitar, drums). Like so many Piazzolla numbers, it has been covered by a wide range of instrumental combinations, including flute and guitar, guitar and cello, guitar and violin, guitar and piano, orchestrally, two cellos, flute and cello, string quartet, and many more. Guitar Duo KM wrote their own arrangement for the piece, which can also be found on their most recent CD, <em><a href=\"http:\/\/www.duokm.com\/cds\" target=\"_blank\">Gracias a la vida<\/a><\/em>, (along with two other Piazzolla pieces, <em>Escolaso<\/em> and the ubiquitous <em>Libertango<\/em>, as well several other Latin American works by other composers). \u00a0A terrific duo!<\/p>\n<p><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignnone size-full wp-image-4708\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/08\/KM-cd.jpg?resize=476%2C431\" alt=\"KM cd\" width=\"476\" height=\"431\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/08\/KM-cd.jpg?w=476&amp;ssl=1 476w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/08\/KM-cd.jpg?resize=300%2C272&amp;ssl=1 300w\" sizes=\"(max-width: 476px) 100vw, 476px\" \/><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Guitar Duo KM is German Katrin Klingeberg and Chilean Sebasti\u00e1n Montes, who have been playing together since meeting at the University of Music (Hochschule f\u00fcr Musik)\u00a0in Hanover, Germany, in the early 2000s. Together and separately they have traveled the world, won (and judged) numerous guitar competitions, recorded solo and duo albums, played with orchestras and chamber groups, and generally done all the cool and exhausting things that top-tier performers are asked to do. Like so many duos these days, Klingeberg [&hellip;]<\/p>\n","protected":false},"author":11,"featured_media":4707,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[6,7],"tags":[],"class_list":["post-4705","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-news","category-watch","post_format-post-format-video"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/08\/km-lead.jpg?fit=1280%2C720&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/4705","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/comments?post=4705"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/4705\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/4707"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=4705"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=4705"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=4705"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}