After this preamble or subtle captatio benevolentiae, I will tell you that in 1992, at the age of ten, I gave my first public recital in the beautiful monastery of Santa Maria del Puig, founded no less than in 1240 near Valencia and where my parents had married in 1980. I could not have imagined that only seven years later I would go to live and study in New York and that Haydn would accompany me on that difficult journey as a fragile but permanent connection to my childhood… And in that 1992 recital, the main score of the evening was a Haydn Sonata, one of the ones I include on this CD: the Sonata in D Major Hob. XVI/14, which is so full of tenderness and of a serene bucolic-pastoral luminosity. It is an inner idyll of simple but sublime grandeur. And so began the red thread that represents Haydn in my life, a kind of locus amoenus (a pleasant place) where I have so often found, and continue to find, solace, consolation and shelter. In my childhood, everyone loved Mozart and Beethoven. Haydn was the ugly duckling. I always felt I was an ugly duckling and maybe that is also why I loved him so much from the beginning…

In 'Schubert & Schumann: Loss & Love', cellist Adolfo Gutierrez Arenas and pianist Josu De Solaun touch on two perennial themes that pervade all human lives. The album is a very personal one: both artists have recently lost their parents, and during a pandemic we all turn to music more than ever to find solace and a reflection of our own feelings as those experiences of loss and love are intensified.

Here is a recording that combines the aesthetic value of music together with the musical works’ historical underpinnings. The pianist Josu De Solaun offers us his interpretation of two of the most significant pieces of the Romantic period: Davidsbündlertänze (1837) by Robert Schumann (1819-1856), the Spring and revolutionary high point of a first Romanticism, and two works by Johannes Brahms (1833-1897), heterodox and conflicting protagonists of an autumnal kind of Romanticism: the Intermezzi op. 117 (1892) and the Klavierstücke op. 118 (1893). At the same time, the performer proposes a title that, on the one hand, supports his interpretative ideas and, on the other, aims to be a guide for our understanding and comprehension of how many singularities articulate the content of the recording: DIGRESSIONS, a title suggesting a kind of reflection that sets in during the flow of the musical works themselves.