SOLER, A.: Sonatas for Harpsichord, Vol. 6

SOLER, A.: Sonatas for Harpsichord, Vol. 10

SOLER, A.: Sonatas for Harpsichord, Vol. 9

SOLER, A.: Sonatas for Harpsichord, Vol. 8

Daniel Rowland writes: "I remember so well the moment I first heard Marcelo play, in the beautiful and historic Holywell Music Room in Oxford, in the autumn of 2009. Marcelo's version of a magical Piazzolla touched me deeply and I was utterly captivated and fascinated by it: by the depth, the honesty, the raw emotions, the almost unbearable tenderness, the sense of longing, of loss, the fiery passion... That day I decided to dive deeply into the world of tango, and to learn this language from Marcelo. We started playing together, and very soon became a quintet, with superb artists, brilliant musicians, virtuosos, friends, and like minded, inquisitive, musical spirits. Marcelo grew up in Buenos Aires and met Piazzolla as a child, when Astor's legendary quintet would rehearse at his parents home. Piazzolla would tell Marcelo: 'Marcelito, come and stand behind me as we rehearse and follow my printed score, and listen to what I actually play' - often these two things where very different! This is surely the most direct, and incredible insight into the master's interpretation of his music that one could possible dream of! We in the quintet very strongly feel this unique connection between Piazzolla and Marcelo, it is a great inspiration. I'm sure that Piazzolla like the young Marcelito so much because he saw not only a serious, of course very talented your artists with a huge tango-heart, but also someone who would push the boundaries of tango, keep innovating and daring to experiment, while respecting the tradition."

RAMEAU: Harpsichord Music, Vol. 1

SOLER, A.: Sonatas for Harpsichord, Vol. 2

SOLER, A.: Sonatas for Harpsichord, Vol. 5

SOLER, A.: Sonatas for Harpsichord, Vol. 3

}Gramophone (1/97, p. 81) "...[Rowland's] selection here is interestingly varied and includes keyboard exuberances such as hand-crossings (Nos. 16 and 90), joyous leaps (No. 101), and imitations of Spanish folk instruments..."{

RAMEAU: Harpsichord Music, Vol. 2