Description

ANDRÉ-NICOLAS NAVARRA (13 OCTOBER 1911 BIARRITZ, FRANCE – 31 JULY 1988 SIENA, ITALY)

He was born into a musical family, his father a bassist of Italian descent. His parents took steps to prepare him for music before setting him up with an instrument, teaching him scales and solfège before he began studying cello at age seven. Two years later, he was accepted as a student at the Toulouse Conservatory, and graduated in 1924 with first prize at age thirteen. He then continued his studies at the Conservatoire de Paris, learning cello from Jules-Leopold Loeb and chamber music from Charles Tournemire. He graduated two years later at age fifteen, again taking first prize. After the completion of his lessons at the Conservatoire de Paris, Navarra stopped taking lessons entirely—something very unusual for first-rate soloists. Instead, he worked out his own course of study, and practiced at it. This included transcribing many of the violin technical methods to make up for a lack of decent cello études, including those of Carl Flesch and Otakar Ševčík. Navarra remained in Paris for this period of self-study, and used the opportunity to meet and observe the playing of musicians such as Emanuel Feuermann, the pianist Alfred Cortot, and the violinist Jacques Thibaud. Navarra also developed friendships with composers Jacques Ibert, Florent Schmitt, and Arthur Honegger. Later on, he was mentored by Pablo Casals in regard to artistic matters. In 1929, at the age of eighteen, Navarra joined the Krettly Quartet, and remained with them for the next seven years. He also helped form an ensemble called the B.B.N. Trio with the pianist Joseph Benvenuti and violinist René Benedetti. Two years later, he made his solo debut with Paris’s Colonne Orchestra, performing Édouard Lalo’s Cello Concerto in D minor. In 1933 he became principal cellist of the Paris Opéra Orchestra, in addition to continuing to appear as a soloist with various European orchestras. During these years, Navarra was exceptionally athletic. His favourite sport was swimming, but he also enjoyed boxing. This led to Navarra developing an extremely strong and stocky physique which he kept for years afterward. He regarded this as ideal for a cellist, allowing him to dominate the relatively large instrument. Navarra slowly continued to establish his career throughout the 1930s, receiving a major boost in 1937 when he won first prize at the Vienna International Competition. However, his career was abruptly halted by World War II in 1939. During this time he abandoned his cello and served with the French infantry. In 1945, after a period of practice to regain his physical skills, André Navarra resumed his career. In 1949, he accepted a professorship at the Conservatoire de Paris as a successor to Pierre Fournier, and meanwhile toured extensively in the United States, Europe, Asia, and the Soviet Union, playing with the era’s great conductors. His performances included premieres of cello concertos written for him. Among them was one by André Jolivet, which Navarra recorded for Erato; it received release in the United States on Westminster XWN-19118 (mono) and WST-17118 (stereo). He also recorded a particularly well-received version of Edward Elgar’s Cello Concerto with Sir John Barbirolli conducting. In addition to his position at the Conservatoire de Paris, Navarra taught master classes at the Accademia Musicale Chigiana during summers beginning in 1954, where among his students was a young Saša Večtomov, fall courses in Saint-Jean-de-Luz, and accepted an additional professorship at the Hochschule für Musik Detmold in 1958. He also taught in London and Vienna. Navarra recorded Dvořák’s Cello Concerto in 1954 with the New Symphony Orchestra of London, conducted by Rudolph Schwarz. Capitol Records released it in 1955, catalog number P 8301. Navarra completed acclaimed tours of Southern Africa in 1965, 1969 and 1973.

TRACKLIST

1. Concerto en la mineur, op.33 – Allegretto con motto (Saint-Saëns) HMV DB11176 2LA4962
2. Concerto en la mineur, op.33 – Allegro non troppo (Saint-Saëns) HMV DB11176 2LA4961
3. Concerto en la mineur, op.33 – Allegro non troppo, 1ère partie (Saint-Saëns) HMV DB11177 2LA4963
4. Concerto en la mineur, op.33 – Allegro non troppo, 2e partie ; Allegro molto (Saint-Saëns) HMV DB11177 2LA4964
5. Concerto en la mineur, op129, pour violoncelle – 1er mvt, 1ère partie (R. Schumann) PathéPDT42 CPTX 486
6. Concerto en la mineur, op129, pour violoncelle – 1er mvt, 2e partie (R. Schumann) Pathé PDT42 CPTX 487
7. Concerto en la mineur, op129, pour violoncelle – 1er mvt, 3e partie ; 2e mvt, 1ère partie (R. Schumann) Pathé PDT43 CPTX 488
8. Concerto en la mineur, op129, pour violoncelle – 2e mvt, 2e partie ; 3e mvt, 1ère partie (R. Schumann) Pathé PDT43 CPTX 489
9. Concerto en la mineur, op129, pour violoncelle – 3e mvt, 2e partie (R. Schumann) Pathé PDT44 CPTX 490
10. Concerto en la mineur, op129, pour violoncelle – 3e mvt, 3e partie (R. Schumann) Pathé PDT44 CPTX 491
11. Nocturne (posthume) Odeon 123. 850 XXP 7364
12. Nocturne op 9 en mi bémol (Chopin) Odeon 123.850 XXP 7363
13. Rêve d’amour (Liszt) with Jacqueline Dussot (piano) Columbia LFX1009 CLX2839
14. Sonate pour violoncelle op 117 – Allegro vivo (Fauré) with Annie d’ Arco (piano) Columbia LFX 898CLX 2695
15. Sonate pour violoncelle op 117 – Allegro, 1ère partie (Fauré) with Annie d’ Arco (piano) Columbia LFX897 CLX 2694
16. Sonate pour violoncelle op 117 – Allegro, 2e partie ; Andante, 1ère partie (Fauré) with Annie d’ Arco (piano) Columbia LFX897 CLX 2694
17. Sonate pour violoncelle op 117 – Andante, 2e partie (Fauré) with Annie d’ Arco (piano) Columbia LFX 898CLX 2695
18. Tannhaüser – Romance de l’étoile (Wagner) with Jacqueline Dussot (piano) Columbia LFX1009 CLX2840