Bach Violin Sonatas & Partitas
Sei Solo is a proposal including not only the performance of the composer’s original music, but also the contributions offered by the researcher Helga Thoene which are based on the discovery of the possible existence, among some of the movements, of chorales by the composer himself. For this, she has counted on the collaboration of the soprano Manon Chauvin, the countertenor Gabriel Díaz, the tenor Fran Braojos, the bass Simón Millán and the cellist Marco Pannaría. The delicate textures of the vocal registers, combined with the solemnity of the cello, represent a perfect complement for this original purpose.
In this CD, the Spanish violinist Pablo Suárez (Madrid, 1982) presents the complete collection of the Six sonatas and partitas for solo violin by Johann Sebastian Bach founded on one of his most profound, ambitious and personal approaches, Sei Solo. It is a proposal including not only the performance of the composer’s original music, but also the contributions offered by the researcher Helga Thoene which are based on the discovery of the possible existence, among some of the movements, of chorales by the composer himself. For this, she has counted on the collaboration of the soprano Manon Chauvin, the countertenor Gabriel Díaz, the tenor Fran Braojos, the bass Simón Millán and the cellist Marco Pannaría. The delicate textures of the vocal registers, combined with the solemnity of the cello, represent a perfect complement for this original purpose.
With this idea, the Madrid-born musician introduces himself into the most intimate, human, introspective and sentimental language of the German composer’s personality, grounding his interpretation on a wide spectrum of colours, essences, nuances and timbres provided both by the placement of gut strings in the instrument used (a Nicola Gagliano violin dated 1780 in Naples) and by the natural acoustics of the environment selected for this project (the interior of the Church of Nuestra Señora de la Paz in the town of Gójar in Granada). The sonority, which has been created taking into consideration characteristics quite similar to those that could be found in 18th century instruments, finds its particular personality in parameters such as luminosity, clarity, definition and direction, through a performance in which excellent technical mastery, together with marvellous control in the development of the music, allow harmonic, melodic, affective and sensorial gestures to predominate at all times. The path taken in the CD also moves away from any kind of unnecessary artifice or any overloaded ornamentation in order to show us the most genuinely particular and emotional Bach, who, apart from the characteristics of the artistic idiosyncrasies that made up his production (generally in the form of a stylistic compendium of his time), also offers in this work his vision of life, death, destiny, spirituality and a way of understanding reality that remained conditioned by the events which had shaped his existence. (Abelardo Martín)
“…Pablo Suárez exudes virtuosity, musicality and stylistic adjustment…” (RITMO). “…Suárez is a unique violinist who is not satisfied with repeating pre-established stylistic models, who does not want to follow any tradition, but wants to pursue his own inner truths and present them exactly as they are, without adornments. His touch with the violin is clean and bright, concise and sharp. His contact with the bow is subtle and non-incisive, exploring fresh sonorities.”
“…this allows Suárez to confront the virtuosity and sentimentality of Ysaÿe, like the elegance of the French language, which is lyric and at the same time Cartesian, which never loses its head nor its heart, but enchants with its beauty. Suárez displayed the musical discourse of each sonata yet maintained the sense of their unity, never disconnecting the six sonatas or the movements that they form. He transmitted this concept of totality to the audience, which listened breathlessly, taken away by the magical voice of the violin.” Mónica Pagés.
Pablo Suárez was born in Madrid and studied with Nicolás Chumachenco in the Hochschule für Musik in Freiburg; with Salvatore Accardo in the Accademia “Walter Stauffer” in Cremona and in the Accademia Musicale Chigiana in Siena; and with Augustín Dumay in Brussels. Other important influences in Suárez´s development include Gonçal Comellas, Victor Martín, J. Ellermann, Franco Gulli and Igor Ozim.
Suarez has been the guest violinist at the Orchestre Philarmonique de Marseille, Orchestre National Bordeaux Aquitaine, Orquesta Sinfónica de Galicia, Orquesta de Cámara Reina Sofía, Helsinki Philharmonic Orchestra, Royal Danish Orchestra, Trondheim Symphony Orchestra and Iceland Symphony Orchestra, among others.
Suárez has played numerous concerts and recitals in Spain, Germany, Ukraine, France, Italy, Switzerland, Great Britain, Iceland, Canada, Turkey, Finland and Norway.
He has recorded for Radio France, RAI Italia and Radio Televisión Española and has collaborated with artisits like Maurizio Pollini, Bruno Giuranna, Jean Jacques-Kantorow, Lawrence Foster, Christophe Rousset, among others.
In 2011, he founded the Ensemble Praeteritum, a group in which he performs in festivals and concert halls like la Fundación Juan March, la Red de Teatros de la Comunidad de Madrid y Castilla-La Mancha, y el Festival de Música Sacra de Madrid, among others. In December of 2014, the Ensemble recorded a “senza fine” version of Vivaldi´s “The Four Seasons” on the QTV Classics label. The recording is based on an original idea in which each season and movement is connected to the next through cadences and improvisations, thus creating an uninterrupted performance.
Suárez has recently recorded Eugène Ysaÿe´s Six Sonatas for violin for the Solé Recordings label.
Pablo Suárez is currently a violin professor at the Conservatorio Superior de Música de Aragón, and director of the Ensemble Praeteritum. He also performs with the group La Tempestad, directed by Silvia Márquez.
He plays a Nicola Gagliano violin (Nápoles, 1780).