Marquez

It's curious why there are not more compositions for cello and guitar duo. The two overlap greatly in range, have wonderfully complementary timbres, and possess virtually none of the inherent balance problems encountered when pairing the cello with the more commonplace piano. The guitar is often thought of in term of Spanish or Latin-influenced music, and though there have been many compositions written for the cello by composers from these parts of the world, precious few have bothered to incorporate the guitar as a duo partner.

In addition to including three harpsichord concertos composed in the 20th century, this CD offers suggestive interweavings: The concertos by Falla and Poulenc were both composed for Wanda Landowska (1879-1959), the great Polish harpsichordist who decisively contributed to the rediscovery of much 17th- and 18th-century music and to the renaissance of the harpsichord, not only as an ancient instrument, but also as a source of inspiration for 20th-century musicians. Poulenc’s Concert champêtre is the immediate heir of Falla’s Concerto. Accordingly, in the orchestral score of Poulenc’s Concert belonging to Falla, we can read the following autograph dedication by the French composer: “For you, my dear Falla, the little brother of your so magnificent Concerto. Fr. Poulenc”. The three concertos share a neoclassical aesthetic, albeit from different approaches: in his Concerto Falla explores and uses the ancient sources of Hispanic music; Poulenc evokes the French Baroque; and Bacarisse adopts stylistic elements typical of the neoclassicism of the 1920s.

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.