Yes, there is 20th-Century Spanish music written for such an old instrument as the harpsichord! Composers do not impose limits: they love its rythm, timbre, they love dreaming the past. Following the traces of her exciting last CD Chaconnerie –including Latin Grammy nominated Montuno by Roberto Sierra–, harpsichordist Silvia Márquez Chulilla presents here a stunning bouquet of pieces composed between 1952 (on a Pleyel harpsichord!) and 1996. Apparently a feminine world, it was the charismatic Wanda Landowska who inspired Manuel de Falla, the first leading composer of the 20th century to turn his gaze to the harpsichord. Then many composers from the 20th century enthusiastically wrote for Antoinette Vischer, Annelie de Man, Elisabeth Chojnacka, and Goska Isphording. And in Spain, in the sixties, it was to be Genoveva Gálvez –the first professor of harpsichord in her country– who would manage to make that initially solitary voyage attractive to contemporary composers with its surprising sonorities –it is for good reason that three of the pieces amassed here are dedicated to her–.
Restless and enthusiastic, Silvia Márquez Chulilla is presently one of the most versatile and active performers. A specialist in historical keyboards, she feels equally comfortable on harpsichord, organ, or fortepiano. Born in Zaragoza and awarded numerous prizes, she widely performs as a soloist or as artistic director of La Tempestad. Silvia Márquez is Professor of Harpsichord at the Real Conservatorio Superior de Música de Madrid –holding the same position as Genoveva Gálvez, almost five decades later!–. Passionate about music of the 20th and 21st centuries, her last project, focused on Spanish 20th century music for harpsichord, has led her to receive the Leonardo Grant 2017 for Researchers and Cultural Creators, BBVA Foundation. First and foremost, she is increasingly convinced that music is an act of communication, regardless of the age of the music or the instrument used for it… Together with the beauty and personality of the sound of early keyboard instruments, “language and imagination” are two of the favourite words forming the basis of her concert approach.