This vibrant and varied album is a scintillating showcase for two thrilling musicians, and proof of how well the all-too-rare combination of cello and guitar actually works. There is little to connect each of these pieces, ranging from Dowland and Schubert to Bright Sheng and Falla, but the overall program’s scope and variety provides ample platform for the vocal quality of Moser’s cello playing—eloquent and emotionally generous. It helps that his infectious energy is fully matched by Xuefei Yang, whose artistry displays technical perfection as it does musical insight. Schubert’s Arpeggione Sonata, originally composed for piano and a now obsolete cello-guitar hybrid, the arpeggione, emerges as the intimate salon piece it originally was, while in Falla’s Spanish folksongs Xuefei’s guitar adds extra helpings of Iberian passion and mystery. In particular, Moser and Xuefei shine in arrangements of three Dowland songs, originally for lute and voice, their stripped-back beauty allowing Moser to emphasize his instrument’s ability to evoke deep sorrow. Finally, Bright Sheng’s challenging Three Songs, scored originally for pipa and cello and premiered in 1999 at the White House, are a whirlwind of rhythmic and melodic interplay. It’s hard to imagine better performances.