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Concerto for Violin, Cello and Orchestra (vinyl)
Johannes Brahms

André Navarra | Josef Suk | Karel Ančerl

Concerto for Violin, Cello and Orchestra (vinyl)

Price: € 28.95
Format: LP 12inch
Label: Fondamenta
UPC: 0889854750329
Catnr: FONLP 1705001
Release date: 08 December 2017
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Label
Fondamenta
UPC
0889854750329
Catalogue number
FONLP 1705001
Release date
08 December 2017
Album
Artist(s)
Composer(s)
EN
DE

About the album

Who could have foretold the destiny of André Navarra when he was born into a modest family in Toulouse on 11 November 1911? His father was a porter at the early morning market, and in the afternoon played the double bass at a café called Les Américains. His uncle Michel might have been almost clairvoyant when he chose the boy’s seventh birthday gift: a ¾ cello. The introverted child spontaneously transferred his fervour to the instrument. It was a passion that accompanied him ceaselessly until he died, surrounded by his students, in Sienna on 31 July 1988.

Awarded the first prize at the Conservatoire de Paris by unanimous decision of the jury when he was only 13, he set out living the austere life of an athlete (he was an expert boxer), refusing to be distracted from his instrument and renting a studio above a garage to practise all night without disturbing the neighbours. He was barely 20 years old when his soloist career began, taking him across Europe as he performed with the finest orchestras to play all the concertos of the repertoire. Navarra took first prize at the Vienna International Competition in 1937. But the war put a temporary obstacle in the way of his ascension. Unlike some of his fellow musicians, he refused to collaborate with the occupiers and he took refuge behind his music stand, playing as an ordinary member of the Paris Opera orchestra. From 1945 onwards, he could again be heard in the capitals of Europe, conducted by the likes of Munch, Paray and Barbirolli, and later Mehta, Ristenpart and Ančerl.

A parallel career opened up for him: teaching. He taught in Paris, Sienna, Saint-Jean-de-Luz, Nice, London, Vienna, Sion and Detmold. His mastery of the bow was unique: he borrowed the technique used by violinists. It revolutionized the method of cello playing, bringing roundedness, sensitivity and strength. He pursued his two callings with equal intensity, one career enriching the other, as this collection shows so clearly. He approached every repertory with the same passion: contemporaries such as Jolivet and Schmitt; classics such as Bach, Boccherini and Haydn; romantics such as Dvořák, Brahms, Schumann, Bruch and Bloch; and early 20th century composers such as Prokofiev, Kodaly and Martinů.

He died under the Tuscan sun that was so dear to him, his legacy a school of cello playing that is unique in the world and whose technique and phrasing can still be recognized in the playing of those who use it, from Heinrich Schiff, Frédéric Lodéon, Philippe Muller, Roland Pidoux, Marcel Bardon, René Bénédetti, Anne Gastinel, Valentin Erben, Dominique de Williencourt, Marcio Carneiro, Yvan Chiffoleau and Christophe Coin to Gautier Capuçon, Yan Levionnois, Xavier Phillips, Taeguk Mun, Victor Julien-Laferrière and Bruno Philippe. His perpetual, intense energy notwithstanding, Navarra leaves us with the image of a warm-hearted, unassuming man, who could, after a day alone with his cello, invite his students on the spur of the moment to fun-filled spaghetti parties. Pablo Casals, who admired Navarra’s free spirit, said to him at a competition in Mexico City, “Ah, there you are, André. The man who never comes when I invite him. I thought you were afraid of me. But no, the cello is your only love.”

Wer hätte das Schicksal von André Navarra voraussagen können, als er am 11. November 1911 in einer bescheidenen Familie in Toulouse geboren wurde? Sein Vater war morgens Portier und am Nachmittag spielte er Kontrabass in einem Café namens Les Américains. Sein Onkel Michel war vielleicht schon fast hellseherisch, als er sich für Geburtstagsgeschenk zum 7. des Jungen entschied: ein ¾ Cello. Das introvertierte Kind übertrug spontan seinen Eifer auf das Instrument. Es war eine Leidenschaft, die ihn unermüdlich begleitete, bis er am 31. Juli 1988 in Siena, umgeben von seinen Schülern, starb.
Mit 13 Jahren erhielt er den ersten Preis am Conservatoire de Paris durch eine einstimmige Entscheidung der Jury. Er lebte das strenge Leben eines Athleten (er war ein erfahrener Boxer), weigerte sich, sich von seinem Instrument ablenken zu lassen und mietete ein Studio über einer Garage, um die ganze Nacht üben zu können, ohne die Nachbarn zu stören. Er war kaum 20 Jahre alt als seine Solistenkarriere begann, die ihn durch ganz Europa führte wobei er mit den besten Orchestern auftrat. Navarra gewann 1937 den ersten Preis beim Internationalen Wettbewerb in Wien. Doch der Krieg stellte ein vorübergehendes Hindernis für seinen Aufstieg dar. Anders als einige seiner Mitmusiker weigerte er sich, mit den Besatzern zusammenzuarbeiten und er flüchtete sich hinter seinen Notenständer und spielte als ordentliches Mitglied des Orchesters der Opéra National de Paris. Ab 1945 war er wieder in den Hauptstädten Europas zu hören, dirigiert von Munch, Paray und Barbirolli, später von Mehta, Ristenpart und Ančerl.
Ihm eröffnete sich eine parallele Karriere: die Lehre. Er unterrichtete in Paris, Siena, Saint-Jean-de-Luz, Nizza, London, Wien, Sion und Detmold. Seine Beherrschung des Bogens war einzigartig: er lieh sich die Technik der Geiger. Es revolutionierte die Methode des Cellospiels und brachte Rundheit, Sensibilität und Kraft. Er verfolgte seine beiden Berufungen mit gleicher Intensität, wobei eine Karriere die andere bereicherte, wie diese Sammlung so deutlich zeigt. Er näherte sich jedem Repertoire mit derselben Leidenschaft: Zeitgenossen wie Jolivet und Schmitt; Klassiker wie Bach, Boccherini und Haydn; Romantiker wie Dvořák, Brahms, Schumann, Bruch und Bloch; und Komponisten des frühen 20. Jahrhunderts wie Prokofiev, Kodaly und Martinů.
Er starb unter der ihm so liebgewonnenen toskanischen Sonne, sein Vermächtnis eine weltweit einzigartige Schule des Cellospiels, deren Technik und Phrasierung auch heute noch im Spiel derjenigen zu erkennen ist, die sie verwenden, von Heinrich Schiff, Frédéric Lodéon, Philippe Muller, Roland Pidoux, Marcel Bardon, René Bénédetti, Anne Gastinel, Valentin Erben, Domin. Trotz seiner immerwährenden, intensiven Energie hinterlässt Navarra das Bild eines warmherzigen, bescheidenen Mannes, der nach einem Tag allein mit seinem Cello seine Schüler spontan zu spaßigen Spaghetti-Partys einladen konnte. Pablo Casals, der Navarras freien Geist bewunderte, sagte zu ihm bei einem Wettbewerb in Mexico City: "Ah, da bist du ja, André. Der Mann, der nie kommt, wenn ich ihn einlade. Ich dachte, du hättest Angst vor mir. Aber nein, das Cello ist deine einzige Liebe."

Artist(s)

Andre Navarra (cello)

Who could have foretold the destiny of André Navarra when he was born into a modest family in Toulouse on 11 November 1911? His father was a porter at the early morning market, and in the afternoon played the double bass at a café called Les Américains. His uncle Michel might have been almost clairvoyant when he chose the boy’s seventh birthday gift: a ¾ cello. The introverted child spontaneously transferred his fervour to the instrument. It was a passion that accompanied him ceaselessly until he died, surrounded by his students, in Sienna on 31 July 1988. Awarded the first prize at the Conservatoire de Paris by unanimous decision of the jury when he was only 13, he set out living...
more

Who could have foretold the destiny of André Navarra when he was born into a modest family in Toulouse on 11 November 1911? His father was a porter at the early morning market, and in the afternoon played the double bass at a café called Les Américains. His uncle Michel might have been almost clairvoyant when he chose the boy’s seventh birthday gift: a ¾ cello. The introverted child spontaneously transferred his fervour to the instrument. It was a passion that accompanied him ceaselessly until he died, surrounded by his students, in Sienna on 31 July 1988.

Awarded the first prize at the Conservatoire de Paris by unanimous decision of the jury when he was only 13, he set out living the austere life of an athlete (he was an expert boxer), refusing to be distracted from his instrument and renting a studio above a garage to practise all night without disturbing the neighbours. He was barely 20 years old when his soloist career began, taking him across Europe as he performed with the finest orchestras to play all the concertos of the repertoire. Navarra took first prize at the Vienna International Competition in 1937. But the war put a temporary obstacle in the way of his ascension. Unlike some of his fellow musicians, he refused to collaborate with the occupiers and he took refuge behind his music stand, playing as an ordinary member of the Paris Opera orchestra. From 1945 onwards, he could again be heard in the capitals of Europe, conducted by the likes of Munch, Paray and Barbirolli, and later Mehta, Ristenpart and Ančerl.

A parallel career opened up for him: teaching. He taught in Paris, Sienna, Saint-Jean-de-Luz, Nice, London, Vienna, Sion and Detmold. His mastery of the bow was unique: he borrowed the technique used by violinists. It revolutionized the method of cello playing, bringing roundedness, sensitivity and strength. He pursued his two callings with equal intensity, one career enriching the other, as this collection shows so clearly. He approached every repertory with the same passion: contemporaries such as Jolivet and Schmitt; classics such as Bach, Boccherini and Haydn; romantics such as Dvořák, Brahms, Schumann, Bruch and Bloch; and early 20th century composers such as Prokofiev, Kodaly and Martinů

He died under the Tuscan sun that was so dear to him, his legacy a school of cello playing that is unique in the world and whose technique and phrasing can still be recognized in the playing of those who use it, from Heinrich Schiff, Frédéric Lodéon, Philippe Muller, Roland Pidoux, Marcel Bardon, René Bénédetti, Anne Gastinel, Valentin Erben, Dominique de Williencourt, Marcio Carneiro, Yvan Chiffoleau and Christophe Coin to Gautier Capuçon, Yan Levionnois, Xavier Phillips, Taeguk Mun, Victor Julien-Laferrière and Bruno Philippe. His perpetual, intense energy notwithstanding, Navarra leaves us with the image of a warm-hearted, unassuming man, who could, after a day alone with his cello, invite his students on the spur of the moment to fun-filled spaghetti parties. Pablo Casals, who admired Navarra’s free spirit, said to him at a competition in Mexico City, “Ah, there you are, André. The man who never comes when I invite him. I thought you were afraid of me. But no, the cello is your only love.”


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Josef Suk (violin)

Czech Philharmonic Orchestra

The Czech Philharmonic’s very first concert took place on 4 January 1896 in the Rudolfinum and was conducted by Antonín Dvořák. Before the Chief Conductor’s baton was taken up by the first internationally known conductor, Václav Talich, in 1919, the orchestra was directed by Ludvík Čelanský and Vilém Zemánek, as well as, briefly, by Oskar Nedbal. Talich’s great personality was succeeded by other outstanding conductors such as Rafael Kubelík (1942-1948), Karel Ančerl (1950-1968) and Václav Neumann (1968-1990). During the 1990s, the position of Chief Conductor was passed in succession to Jiří Bělohlávek, Gerd Albrecht and Vladimir Ashkenazy, who directed the orchestra until the end of the 2002/2003 season. From the beginning of the 2003/2004 season until 8 September 2007 Zdeněk...
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The Czech Philharmonic’s very first concert took place on 4 January 1896 in the Rudolfinum and was conducted by Antonín Dvořák. Before the Chief Conductor’s baton was taken up by the first internationally known conductor, Václav Talich, in 1919, the orchestra was directed by Ludvík Čelanský and Vilém Zemánek, as well as, briefly, by Oskar Nedbal. Talich’s great personality was succeeded by other outstanding conductors such as Rafael Kubelík (1942-1948), Karel Ančerl (1950-1968) and Václav Neumann (1968-1990). During the 1990s, the position of Chief Conductor was passed in succession to Jiří Bělohlávek, Gerd Albrecht and Vladimir Ashkenazy, who directed the orchestra until the end of the 2002/2003 season. From the beginning of the 2003/2004 season until 8 September 2007 Zdeněk Mácal held a position as the tenth Chief Conductor of the Czech Philharmonic.
In the 113th season there was no Chief Conductor; some of his powers and duties were exercised by the Principal Guest Conductor Manfred Honeck. The post of the Chief Conductor from the concert season 2009/2010 has been accepted by Eliahu Inbal. Ever since the time of Ančerl’s leadership, the Czech Philharmonic has typically been faced with an extensive travel itinerary that has taken in all the continents. This was also hold true during the 112th concert season, when in addition to concerts in Europe the Czech Philharmonic Orchestra traveled to the USA and Japan. In the 2009/10 season the Czech Philharmonic Orchestra performed in Ireland and the United Kingdom with the conductor Jakub Hrůša; in Japan with Herbert Blomstedt; in Spain with Eliahu Inbal; in Russia with Ion Marin; and in Germany with Nikolas Znaider and Manfred Honeck. The Czech Philharmonic also appeared at a number of festivals in the Czech Republic (Česká Lípa, Chrudim, Brno, Ostrava, Litomyšl and Klatovy).
Of the latest CDs released by the orchestra, recordings made for the Japanese market have recently met with unprecedented acclaim. Zdeněk Mácal and the Czech Philharmonic have been working with Octavia Records to progressively record the complete symphonies of Antonín Dvořák, Gustav Mahler, P. I. Tchaikovsky and Johannes Brahms. The set of Dvořák symphonies conducted by Zdeněk Mácal is almost finished. With Manfred Honeck the Czech Philharmonic continuously records symphonies of Anton Bruckner also for Octavia Records…In 2005, the Czech Philharmonic’s live recording of Mahler’s Third Symphony conducted by Zdeněk Mácal won the Recording of the Year award in Japan. In December 2008, a unique recording was made of Three Fragments from the Opera “Julietta” by Bohuslav Martinů under the direction of Sir Charles Mackerras with a plethora of renowned soloists led by Magdalena Ko�ená. The recording released by Supraphon has received international recognition. In June 2009 the Czech Philharmonic Orchestra published a unique historical recording – 2CDs with Smetana’s My Country and the second series of Dvořák’s Slavonic Dances. The live recording has been compiled from concerts conducted by Václav Talich in 1939.The orchestra makes most of its recordings in the perfect acoustical environment of the Rudolfinum’s Dvořák Hall.
(the source: from the orchestra’s official website)
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Karel Ančerl (conductor)

Composer(s)

Johannes Brahms

Johannes Brahms was a German composer and pianist. Born in Hamburg into a Lutheran family, Brahms spent much of his professional life in Vienna, Austria. His reputation and status as a composer is such that he is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the 'Three Bs' of music, a comment originally made by the nineteenth-century conductor Hans von Bülow.   Brahms composed for symphony orchestra, chamber ensembles, piano, organ, and voice and chorus. A virtuoso pianist, he premiered many of his own works. He worked with some of the leading performers of his time, including the pianist Clara Schumann and the violinist Joseph Joachim (the three were close friends). Many of his works have become...
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Johannes Brahms was a German composer and pianist. Born in Hamburg into a Lutheran family, Brahms spent much of his professional life in Vienna, Austria. His reputation and status as a composer is such that he is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the "Three Bs" of music, a comment originally made by the nineteenth-century conductor Hans von Bülow.
Brahms composed for symphony orchestra, chamber ensembles, piano, organ, and voice and chorus. A virtuoso pianist, he premiered many of his own works. He worked with some of the leading performers of his time, including the pianist Clara Schumann and the violinist Joseph Joachim (the three were close friends). Many of his works have become staples of the modern concert repertoire. Brahms, an uncompromising perfectionist, destroyed some of his works and left others unpublished.
Brahms has been considered, by his contemporaries and by later writers, as both a traditionalist and an innovator. His music is firmly rooted in the structures and compositional techniques of the Classical masters. While many contemporaries found his music too academic, his contribution and craftsmanship have been admired by subsequent figures as diverse as Arnold Schoenberg and Edward Elgar. The diligent, highly constructed nature of Brahms's works was a starting point and an inspiration for a generation of composers. Within his meticulous structures is embedded, however, a highly romantic nature.

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