Cristina Kiehr & Pablo Márquez: Schubert Lieder for Voice and Guitar

G8. The duo formed by Pablo Márquez (guitar) and María Cristina Kiehr (soprano) is one of the most refined and distinctive collaborations in the international music scene. Their partnership stands out for its ability to seamlessly integrate diverse repertoires—from Renaissance to contemporary music—into a sonic dialogue where voice and guitar intertwine with balance, subtlety, and expressive depth.

Pablo Márquez (Salta, Argentina, 1967) began his guitar studies at the age of ten and quickly established himself as one of the most outstanding performers of his generation. He has received numerous accolades, including First Prize at the Villa-Lobos Competition in Rio de Janeiro (1985), First Prize at the Radio France International Competition in Paris (1987), the Swiss Foundation Prize at the Geneva Competition (1989), and the Platinum Konex Award in Argentina (1999), recognizing his career as a classical guitarist. His career combines excellence as a soloist with close collaboration with composers such as Luciano Berio, György Kurtág, Mauricio Kagel, and Zad Moultaka, who have entrusted him with premieres and dedications. In addition to his concert activities, he teaches at the Musik-Akademie in Basel, training new generations of guitarists.

María Cristina Kiehr (Tandil, Argentina, 1967) is internationally recognized as one of the most expressive sopranos in the field of early music. After studying at the Schola Cantorum Basiliensis under René Jacobs, she developed an extensive career performing with renowned conductors such as Gustav Leonhardt, Nikolaus Harnoncourt, Philippe Herreweghe, Jordi Savall, and Gabriel Garrido. Her recordings have been acclaimed with awards including the Diapason d’Or, the Choc du Monde de la Musique, and Gramophone’s Editor’s Choice, highlighting her significant role in promoting Baroque and colonial repertoire.

Together, Márquez and Kiehr have redefined the perception of vocal and guitar repertoire, exploring adaptations of Lieder—such as those by Franz Schubert—alongside Renaissance, Baroque, and contemporary works. Their album *Sehnsucht*, dedicated to Schubert, was enthusiastically received by European critics and hailed as “the recording event of the season.”

Schubert’s Lieder, published in Vienna in alternative versions with guitar during the composer’s lifetime or preserved in the manuscript of Franz von Schlechta.

Programme:

Lied eines Schiffers an die Dioskuren op.65 n.1, D.360 (1816)
Nachtstück op.36 n.2, D.672 (1819)

Der Pilgrim op.37 n.1, D.794 (1823)
Harfenspieler I op.12 n.1, D.478 (1816)
Hänffings Liebeswerbung op.20 n.3, D.741 (1817)

Meeres Stille op.3 n.2, D.216 (1815)
Der Zwerg op.22 n.1, D.771 (1822)

INTERMISSION
Der Wanderer op.65 n.2, D.649 (1819)
Wehmut op.22 n.2, D.772 (1822)

Die Sterne op.96 n.1, D.939 (1828)
Suleika II op.31, D.717 (1821)

Der Alpenjäger op.37 n.2, D.588 (1817)
Sehnsucht op.39, D.636 (1821?)