Lontano Anja Lechner & François Couturier

• 1 Praeludium 01:42
• 2 Arpeggio 01:13
• 3 Gratitude 02:45
• 4 Alfonsina y el mar 04:56
• 5 Flow 06:20
• 6 Memory of a Melody 05:04
• 7 Solar I 01:20
• 8 Solar II 01:05
• 9 Shadow 01:18
• 10 Miniature 27 04:55
• 11 Hymne 01:38
• 12 Vague / E la nave va 06:58
• 13 Lontano 02:35
• 14 Tryptic 07:45
• 15 Prélude en berceuse 03:14
• 16 Postludium 02:05
• Total Runtime 54:53

Info for Lontano

After their highly acclaimed 2014 debut album as a duo, Moderato cantabile, Anja Lechner and François Couturier widen the scope of music even further. The duo sings in a voice of its own, be it with original compositions, free improvisations, drawing upon a Bach cantata or an Argentine folk lament or subtle inclusion of works by Henri Dutilleux, Giya Kancheli or Anouar Brahem. Having internalized influences and repertoire the German cellist and the French pianist not only locate atmospheric and expressive connections among far-flung sources, but also create new music that reflects and refracts its inspirations.

“With François, I have often set off on journeys to foreign melodies. This requires mutual trust, courage and imagination. Together we search as if through various countries, exploring, shaping, struggling, rejecting, and finding new forms to finally sing the song.” (Anja Lechner)

On Moderato Cantabile, their 2013 duo recording, Anja Lechner and François Couturier illuminated some musical and spiritual affinities linking Komitas Vardapet, George I. Gurdjieff and Federico Mompou, composers at the crossroads of East and West. With Lontano, the German cellist and the French pianist widen the scope of their music.

Out of their shared work – which has included concerts and recordings with the Tarkovsky Quartet and the Il Pergolese project as well as duo activities – a shared language has evolved. Whether playing their own pieces, compositions by Henri Dutilleux or Giya Kancheli or Anouar Brahem, drawing upon a Bach cantata or an Argentinean folk lament, Lechner and Couturier have established a distinctive musical identity. Finding atmospheric and expressive connections among far-flung sources, they also create new music that reflects and refracts its inspirations.

“Alfonsina y el mar”, Ariel Ramírez’s zamba which pays tribute to modernist poet Alfonsina Storni is a piece Anja Lechner first heard in Mercedes Sosa’s version. In the Couturier-Lechner interpretation the cello takes on the singer’s role. It’s a role that Lechner has maintained in many different contexts including recent re-settings of Schubert songs with Pablo Márquez (refer to the album Die Nacht). The cello, she suggests, may be the singing instrument par excellence, by virtue of its range able to encompass the full span of male and female voice.

Since he arrived, mid-90s, at ECM with Poros, a delicate tracery of textures with violinist Dominique Pifarély, the hallmarks of Francois Couturier’s playing, improvising, and composing have consistently been restraint, subtlety, patience and a meticulous fine-tuning of ideas. Alongside his own works François has been an important creative partner for the Tunisian oud player Anouar Brahem, whose “Vague - E la nave va” is heard here. It has been part of the Lechner-Couturier songbook for several years already.

Giya Kancheli’s “Miniature 27” is a theme written for the film Tears Were Falling by Georgian director Georgiy Daneliya, which Anja first came to admire in the version by Jansug Kakhidze. The duo’s version takes off from the solo piano score. François suggested bringing in Henri Dutilleux’s “Prélude en berceuse”. This spirited early work from the 1946 cycle Au gré des ondes has found approval among jazz pianists. Lechner and Couturier take a freer approach in their own arrangement: “At first we played the whole piece, then began gradually abandoning sections of it as we opened it up more and more.”

The tune recalled in “Memory of a Melody” is J.S. Bach’s aria “Wie zittern und wanken der Sünden Gedanken”, from the cantata Herr, gehe nicht ins Gericht mit deinem Knecht. The duo have played the aria in its entirety in concert, but here it emerges obliquely out of improvisation – encircled, hinted at, buried again like treasure.

“Flow” and “Tryptic” are strikingly different compositions by Couturier, the first sailing forth serene and stately, the second shifting its perspectives in motoric flurries of activity. Meanwhile, the improvisations broaden the reach of the programme. Anja Lechner’s solo “Shadow” began from “a spontaneous idea of playing a kind of Carl Friedrich Abel arpeggiated piece. Then François picked up on the idea, and continued with the piece now called ‘Arpeggio’”.

In the improvised selections unplanned references to Mompou (on “Lontano”) or to Gurdjieff (on “Hymne”) arise fleetingly - “maybe because we inhaled that music so comprehensively” - while the beginning of the improvisation called “Postludium” sounded in Anja and François’ view so much like something Valentin Silvestrov might have written that they wanted to dedicate the piece to him. The Ukrainian composer’s concept of music as metaphorical conversation with artists of the past and present is also not so far away from the current endeavour, where the musical language draws, consciously and intuitively, on a wealth of wide-ranging experience.

Anja Lechner, violoncello
François Couturier, piano

Anja Lechner
performs as soloist with leading orchestras, as a chamber musician, and as creative participant in diverse projects between the genres. Composers who have written music for her range from Tigran Mansurian, Valentin Silvestrov, Tõnu Kõrvits, Hooshyar Khayam, Zad Moultaka to Dino Saluzzi.

The range of her musical interests is reflected in more than twenty albums for ECM Records.

Her recent releases include Quasi Parlando, music of Tigran Mansurian, with violinist Patricia Kopatchinskaja and the Amsterdam Sinfonietta, Mirrors, music of Tõnu Kõrvits, whose compositions she has premiered with the Tallinn Chamber Orchestra and the Estonian Philharmonic Chamber Choir under Tõnu Kaljuste, and Lontano, featuring Lechner’s duo with French pianist Francois Couturier playing music of Giya Kancheli, Anouar Brahem, Ariel Ramirez beside their own music. Lechner and Couturier also collaborate in the Tarkovsky Quartet, with their third ECM album Nuit Blanche.

Lechner was a founding member of the Rosamunde Quartet, with whom she worked for 18 years until the group’s dissolution in 2009, playing on major international stages and at chamber music festivals.

Since 1998, she collaborates with Argentine bandoneon master Dino Saluzzi.

This season 2021/22, Anja Lechner is presenting old and new music for solo cello from J. S. Bach to Valentin Silvestrov, and improvising. She is touring with guitarist Pablo Márquez, playing music by Franz Schubert from their latest ECM album Die Nacht, and the duo Lechner/Couturier is presenting their new program Lontano.

Anja Lechner grew up in Neubeuern am Inn and studied with Heinrich Schiff and János Starker.

Booklet for Lontano