André 
                  Navarra (1911-1988) made few recordings but is held in high 
                  esteem as a cellist. He made a famous record with Barbirolli 
                  of the Elgar cello concerto, eight years before “you know who” 
                  and many regard this as a classic (Testament SBT 1204). 
                  Here are recordings recorded a few years before his death when 
                  he would be nearly seventy. At its modest price and with an 
                  attractive selection I would suggest anyone vaguely interested 
                  in fine playing of yesteryear shouldn’t hesitate.
                Schubert’s Arpeggione 
                  Sonata was written for an instrument which has gone the way 
                  of the Dodo. The piece is usually played by a cello and works 
                  well. There is lovely playing here and fine interplay with pianist 
                  Annie d’Arco. Navarra was a very expressive cellist and the 
                  sonata certainly gets a fine performance.
                In the Schumann 
                  pieces I have to express some minor concerns. The playing is 
                  splendid in its own terms but I miss a feeling of fun. One of 
                  the Five “Folk pieces” is called “with humour”, well not here. 
                  This is also affects the third piece that always reminds me 
                  of a hornpipe. This means that the contrast with the sublime 
                  second piece is lost. I turned to Rostropovich and felt it more in keeping with what I like in these 
                  works; it’s a matter of taste, of course. The playing is first 
                  class, it’s just that he obviously was a less emotional artist 
                  as also evident from his Elgar. In the “Langsam” he gives a 
                  particularly strong display with the full-bodied tone that was 
                  his trademark.
                The three Dvořák 
                  pieces have a different accompanist but are executed with aplomb. 
                  The Humoresque will bring a gasp of recognition; I knew 
                  it well but not its title. “Silent Woods” is often with an orchestra 
                  but here the piano works well. 
                The sound is a little 
                  dated at times but it matches an “old fashioned” style. Despite 
                  certain reservations this is a good selection of cello pieces 
                  and a deserved tribute to an underrated cellist. I see from 
                  the brief and inadequate notes - I can’t find recording location 
                  - that more of his recordings have been released; I will be 
                  quite interested to hear them. 
                David R Dunsmore
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                Crotchet