Schumann Cello & Piano Works

The Malaga philosopher María Zambrano points out that we are musical beings, the only individuals who pay attention to the sound of their lungs, their heart. So much so that, in order for the miracle of immersing oneself in beauty to happen, the performer must continually subject him/herself to different metamorphoses, which allow unifying the different rhythms, pulses, and accents of the feelings of two souls: that of the artist, and that embodied through the score.

Just as Florestán and Eusebius, the characters of Schumann’s dual nature inspired by the figures of Vult - the jester flutist - and Walt - the dreamy poet - of the writer Jean Paul, the essences of the score and its acoustic translation must mix and enhance each other, creating an altruistic space where the different beats of various hearts - without the gifts of temporality and ubiquity - will express themselves, emerging with colors, triumphs, and joys.

Zambrano would summarize all of this through her idea of poetic reason, which connects with the ability of music to communicate emotions, evoke moods, and transcend the limitations of verbal language; it is a form of knowledge that goes beyond discursive reason and connects with the essence of the human being and their ability to create.

We present an honest version of three souls and three heartbeats under three marks: that of a score, that of a cello, and that of a piano. A poetic reason that will aim, paraphrasing Zambrano, to establish a sensory moment of light in the soul: like dying, like being born, like loving.

Just as Robert Schumann said, if poetry exists here - for one can be, but not become, a poet - let posterity decide.

Alberto Martos, Cello Myriam Sotelo, Piano