Pablo de Naverán Bach cello Suites. CD Claves 50-3062-64 3CDs.
Also available as download and Hi Res streaming. Auditioned using Presto Classical streaming service.
Released Dec 2023
Recording location: Église de Perroy, Switzerland, September 2021
The artist plays a Cello of Carlo Antonio Testore from 1723
Pablo de Naverán was born in 1975 in Bilbao, Spain. His curriculum vitae includes study at the International Menuhin Music Academy in Gstaad Switzerland, which included lessons with the man himself. Following this he enrols at the Conservatoire National Superierur de Musique in Paris. De Naverán is now a professor at the Menuhin music academy. There, he combines teaching with chamber and solo recitals.
The Recording.
This is a very clean clear recording with decent dampening of the Church acoustic. There is some evidence of the performer’s breathing and occasional utterances but no obvious finger tapping. The lower registers are reproduced well without too much emphasis. The Presto streaming service appears able to reproduce the 24 bit/96KHz files without problem on my non full fibre broadband connection. (57-64Mb/s).
Usefully, in the settings of the streaming app, there is the facility to bypass the computer OS mixer which gives marginal further improved sound. I suspect with a true high end DAC that spectacular sound is achievable.
Technically, there are no complaints with no shaky moments in either the fast or slow sections. As I have often commented the standard of cello playing in modern times is hugely impressive. Here, a lesser well known cellist produces a performance of very high standard.
The CD version is spread over 3 CDs due to the 2hr and 40min plus duration.
The Music.
Cards on the table time! This is the most quirky and individualistic recording I have yet to hear! However, it is one of the most enjoyable and musical. Right from the start a slow dreamy and meandering Prelude to the first Suite entices with its smooth flowing phrases. This is reminiscent of Pierre Fournier. Whilst there is little evidence of vibrato this is certainly not a Historically Informed Performance (HIP). In many ways it is very romantic with varying dynamics, voicing and tempos. The speed variation is most noticeable in the third Prelude where the first third is pretty sedate but the middle cross string section is at least twice the speed! This is the only instance where I feel it is a bit overblown!
de Naverán plays the Allemandes and Sarabandes at very slow pace, but incredibly do not drag or become ponderous. The momentum is maintained and the notes are imbued with such finesse of attention to endings and horizontal phrasing that I found my attention seldom wandered. The Courantes and Gigues are played at a fair pace in very exciting manner with plenty of rubato. To my ears they feel very rhythmic but visualising the kind of dancing to them is a challenge. Possibly more the kind of freestyle that one might witness at a wedding disco once a fair amount of alcohol has been consumed.
Reflections.
I have thought hard as to why this performance is so attractive to me and conclude that de Naverán is gifted with huge communication skills which convey a conviction that yes this is unusual but it of great significance and played with passion and sincerity.
Overall, listening to this performance feels like going on a guided tour of a familiar stately home. The guide (de Naverán) is very charismatic and points out many nooks and crannies and other aspects which had never appeared significant before. It’s a very long tour (two hours and forty minutes) but very enjoyable, memorable and satisfying.
For that reason I have not gone into any detail about each Suite and not highlighted more than the two examples above. I think this is a recording to have few preconceived ideas about and join with the performer on a voyage of discovery!
Conclusion.
Strongly recommended, especially if you have more than two or three recordings of the Suites in your collection.
Charles.