Burgmuller

1994 Live Concert features the Cello & Guitar Duo of Michael Kevin Jones and Agustín Maruri on HD Remastered.

Michael Collins has been recording for Chandos what one might call thematic ‘mood’ albums; virtuosity has been covered and here is lyricism. Burgmüller’s Duo is a single movement, but tripartite piece, dating from 1834. It assuredly lives up to the disc billing, being profusely lyric, but in its central panel cleverly evokes the operatic by means of declamatory piano statements above which the clarinet spins vocalised curlicues of decidedly virtuosic pretension. It hardly aspires to anything especially deep, but makes for a good palette refreshing opener.

In addition to his many opera recordings for Decca over the years conductor Richard Bonynge also made arguably an even greater cultural contribution with these often first and only recordings of these important Ballets rarities. Unfortunately the bulk of the repertoire here is known mostly to dancers than to those who simply enjoy outstanding orchestral music- and it is to the latter that this set couldn't be more urgently recommended. For ballet professionals and music librarians, this quintessential offering is a must.

This is the most extraordinarily eclectic album of music I have heard in a long time. You might well expect a contemporary piece for clarinet and percussion to jar when it follows - literally - an extended Schumannesque lyrical duo from 1834. But there is in fact a common factor that makes this an absolutely fascinating and delightful recital disc. It is the uniformly high quality of the music which in turn is much aided by the superb playing of principal protagonist clarinettist Linda Cionitti.

Introduced to each other by mutual friend Dino Saluzzi in 2003, German cellist Anja Lechner and Argentinean guitarist Pablo Márquez have since explored the most diverse repertoire and modes of expression in their concerts. For their first duo album, a conceptual context is provided by the strong tradition of songs with guitar accompaniment prevalent in 19th century Vienna, as Lechner and Márquez play music of Franz Schubert. Many of Schubert’s songs were published in alternative versions with guitar during the composer’s lifetime; in some cases, the guitar version appeared even before the one for piano. Interspersed on the recording, as an echo and commentary to Schubert’s spirit and language, are the graceful Trois Nocturnes originally written for cello and guitar by Friedrich Burgmüller (1806-1874). Die Nacht is issued as Lechner and Márquez embark on a European tour with concerts in Germany, Austria, France, Hungary and Romania.