This album is a mastering of the concert performed by the Seikilos Quartet at the Fundacion Juan March on May 28, 2025. It features the world premiere recording of Quartet No. 10 (1945) and the Scherzo for String Quartet (1911) by Conrado del Campo (1878-1953), one of the most original and least known Spanish composers of the first half of the twentieth century. This recording is part of the Conrado Project. Launched in 2021, this ambitious initiative aims to present, for the first time, the complete body of his thirteen string quartets and to publish a comprehensive edition of the scores, most of which remain unpublished, along with the recordings released by the MarchVivo label. This initiative supports the recovery of a repertoire that has been unfairly consigned to oblivion.

This album features the live recording of the concert given by Trio Lirico and pianist Josu de Solaun at the Fundacion Juan March in Madrid on April 23, 2025. It marks the world premiere recording of the two piano quartets composed in 1902 by the Spanish composers Vicente Zurron and Bartolome Perez Casas. The beginning of the 20th century represented a creative breakthrough in Spain, where chamber music had previously been limited to private settings and personal enjoyment. The expansion of chamber music into public concert halls inspired local composers to explore the genre - an impulse reflected in the recovery of these long-overlooked works.

This live recording immortalizes Christophe Rousset's performance at the Fundacion Juan March in Madrid on January 8, 2025, a featured event in the Earning a Living concert series. Francois Couperin's keyboard compositions illuminate the role of royal patronage as the modus vivendi for musicians of the Early Modern period. Couperin's treatise, L'Art de Toucher le Clavecin, is here interwoven with a selection of his Pieces de clavecin, giving rise to a portrait gallery in music, each inspired by anonymous figures who inhabited the French court. This set of pieces de caractere, whose allusive and encoded meanings remain largely enigmatic today, is presented in groupings by tonality, each offering a window into the refined world of Baroque palace life and it's intricate web of connections.

This MarchVivo recording presents remastered excerpts from two recitals given by guitarist Ricardo Gallen at the Fundacion Juan March in 2014 and 2017. The thread linking all the works on the album is the habanera. Although it's name derives from that of the Cuban capital, this genre of song and dance had mixed European and African roots. By the late 19th century, it had travelled back from Cuba to Europe and seduced half the continent with it's sensual, swaying rhythm. Having arrived on ships that docked in the ports of Cadiz and Seville, it discovered it's close kinship with tango and was later assimilated by flamenco. The habanera captured the imagination of Spanish and French composers because of it's power to conjure an exotic vision of "otherness", as conveyed here by the intimate voice of the Spanish guitar.

This is a remastered recording of the concert given by cantaora Rocío Márquez and pianist Rosa Torres-Pardo at the Fundación Juan March on November 28, 2014. It presents a selection of Spanish classical works interspersed with music from the folk tradition that inspired their composition. The flamenco singer–classical pianist duo interweaves works by Manuel de Falla, Enrique Granados and Isaac Albéniz with popular Spanish songs (some of which were later harmonized by Federico García Lorca). The artists’ flamenco take on classical repertoire reveals the often neglected traditional origins of works whose composers drew on popular culture as they searched for the essence of Spanish music.

This album features mastered versions of works performed live by the Quatuor Diotima at the Fundacion Juan March on 27 April 2022 and 14 February 2024. It presents the world premiere recordings of String Quartets Nos. 8 and 9 and of the Intermezzo Scherzo on the surname Mi-la-nes by Conrado del Campo (1878-1953), one of the most original but least well-known Spanish composers of the first half of the twentieth century. The concert was part of the Proyecto Conrado, launched in 2021, which involves programming the first complete cycle of his thirteen string quartets. This will go hand in hand with the production of a complete edition of the scores, most of which have never been published, and the release of recordings of the quartets. The aim of this ambitious initiative is to rescue a significant body of works from the undeserved neglect into which they have fallen.

This live recording brings together a selection of works from two concerts given at the Fundación Juan March in Madrid by Antonio Serrano, accompanied by pianists Federico Lechner (22 November 2014) and Ignasi Terraza (27 November 2021). In these recitals Serrano demonstrated his virtuosic mastery of the harmonica, an instrument that has played a hugely influential role in the history of jazz. The memorable music of two such significant composers as Cole Porter and George Gershwin acquires a new creative dimension in the hands of Antonio Serrano. Unfamiliar to many, the idiomatic potential of the harmonica is fully revealed in this recording, conjuring an unusual sound world that will transform the listening experience for those curious enough to dive into it.

This is a remastering of a concert given by the Gerhard Quartet at the Fundación Juan March on 6 June 2023. It features the world premiere recordings of String Quartets Nos. 6 and 7bis by Conrado del Campo (1878-1953); one of the most original but least well-known Spanish composers of the first half of the twentieth century. The concert was part of the Proyecto Conrado; whose remit involves progamming the first complete cycle of his thirteen string quartets; producing a complete edition of the scores; most of which have never been published; and releasing recordings of the quartets (in various formats). The aim of this ambitious initiative is to rescue a significant body of of works from the undeserved neglect into which they have fallen.

This is a live recording of the concert given by Josu de Solaun in the auditorium of the Fundacion Juan March in Madrid on 30 March 2019. Part of the Foundation’s “Musica en la noche” (Music at night) series, the recital offered a different interpretation of one of the most popular solo piano genres: the nocturne. Rather than focusing on the canonical works of Chopin, this programme explores the less familiar margins of the repertoire, transporting the listener to a night without frontiers. Eight composers of five different nationalities (American, Italian, French, Romanian and Bulgarian) together create an alternative and light-filled vision of the nocturne. In the words of the pianist himself, “this album of crepuscular thoughts and melting music is an invitation to the dream world: a journey to the far reaches of the night”.

This latest MarchVivo release is a remastering of the concert given by Benjamin Alard at the Fundación Juan March on 1 February 2020 as part of a series entitled The Couperins at the harpsichord. The album focuses on the stylistic connections between different members of the most significant family in the history of the French Baroque: the Couperins. The harpsichord epitomized the intimacy and sophistication of salon music and, with the repertoire they composed for their instrument, the clavecinistes français helped forge a distinctive national style. This was renewed and enlivened by successive generations of the Couperin dynasty as they introduced innovative aspects of contemporary Italian style into their works, thereby creating an eloquent new idiom that was to have a lasting influence on the history of keyboard music.

This is a remastering of a concert given by the Quatuor Diotima at the Fundación Juan March on 27 April 2022. It features the world premiere recordings of String Quartets Nos. 3 and 5 (six-movement version) by Conrado del Campo (1878-1953), one of the most original but least well-known Spanish composers of the first half of the twentieth century. The concert was part of the Proyecto Conrado, which involves programming the first complete cycle of his thirteen string quartets. This will go hand in hand with the publication of a complete edition of the scores, most of which have never been published, and the release of recordings of the quartets (in various formats). The aim of this ambitious initiative is to rescue a significant body of works from the undeserved neglect into which it has fallen.

The Fundación Juan March is delighted to present the world premiere recording of Roberto Gerhard's ballet La noche de San Juan (St John's Eve), later rechristened Soirées de Barcelone (Barcelona Nights). Gerhard composed the score in the wake of the sensational success enjoyed by Falla's ballets and the dance craze of the early twentieth century, setting it against the backdrop of the exotic Spain of European imagination. La noche de San Juan was never premiered, because of the outbreak of the Spanish Civil War and subsequent exile of those involved in it's creation (including set designer Joan Junyer and poet Ventura Gassol). Gerhard completed the piano version which is heard here, but this extraordinary work fell into neglect. Inspired by traditional St John's Eve celebrations and the fire festivals of the Catalan Pyrenees, this modern music, brimming with folk influences and frenzied rhythms, portrays torch dances, an array of magical figures and the erotic movements of couples who, after a night of intimate union, are joined in marriage as the new day dawns.

Almost three centuries ago, in 1723, Johann Sebastian Bach (1685-1750) finished writing his Two-Part Inventions, BWV 772-786. Designed for the education of his son Wilhelm Friedemann, these fifteen works explore contrapuntal writing and a variety of different dance styles. Then as now, musicians learned their trade by mastering performance technique and the idiomatic characteristics of their instrument. On this album, pianist Moisés P. Sánchez reinvents this extraordinary set of pieces by employing Bachian principles: reworking on well-known works to translate them into a modern idiom, while retaining their essence. Commissioned by the Fundación Juan March, this project harks back to the original spirit of Bach's Inventions, taking a creative idea and reimagining it in order to stimulate the musical imagination and seduce the listener with new sonorities.

On 19 January 1977, Federico Mompou (1893-1987) performed live at the Fundación Juan March, playing one of his most important piano works: the fourth and final book of Música callada (Silent Music), a kind of meditation in sound. Four decades later, having been meticulously restored, the only live recording Mompou ever made of this work is presented here. The other work on the program at that historic concert was the composer's Cinq mélodies sur des textes de Paul Valéry, sung by it's dedicatee, soprano Montserrat Alavedra (1945-1991). When performing Mompou's music Alavadra embodied his idea of the human voice, her natural, unadorned style reminiscent of that of plainchant. This recital reveals the central strands of Mompou's creative world: the resonance at the heart of his poetics, the silence that guides us along a road of bareness, and the pursuit of the sound that exists between one note and the next. This is the first recording on the Fundación Juan March's new label, MarchVivo.

This is a live recording of the recital given by Josep Colom at the Fundación Juan March in Madrid on 10 October 2018. Designed to encourage an original way of listening to music, the program consists of a linked sequence of single movements or pieces taken from collections. Together these form an uninterrupted whole that reveals hidden analogies between Schubert and seven other composers: Bach, Mozart, Beethoven, Chopin, Schumann, Brahms and Schoenberg. Josep Colom also revives a once common but now forgotten performing tradition: that of using improvisation to create transitions between fully composed works. His concise extempore interludes lead the listener smoothly from one composition to another, creating a kind of continuum of sound.