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André Navarra : violoncelle
with Annie d'Arco : Piano 

Franz Schubert :
Sonate Arpeggione

Robert Schumann :
Adagio et Allegro, Opus 70
Cinq Pièces en Style Populaire, Opus 102

Calliope Records - CAL 1614

silver labels with black lettering

Manufactured in France, Qualiton Imports label on back cover 

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satnrose record 

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The lamination is peeling off the covers at the opening side

The record itself appears to be in fine condition

We have not tested its quality by playing it. 

If you are dissatisfied with it, we will refund your money. 

In other words, you have nothing to lose by bidding! 

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The following information was taken from the Wikipedia: 

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 Šev?ík.

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, pianist Alfred Cortot, and 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 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 favorite 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 summer courses at the Accademia Musicale Chigiana Siena from 1954, 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.....

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Our response:
"Although we don't test records by playing them, I am very careful about buying only those records that appear to be in superb condition. That means I buy about one record for every 100 that I look at. We don't sell a lot of records, but our record buyers have been happy with their purchases 99%+ of the time. ..."

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Another Q & A: 

Q:
Concerning the condition of this record - I am un-familiar with the term near fine!! In the record collector field the terms that are used for all except 78s are g Good Vg Very Good VG+ slight wear and signs of use M- Mint Midus - Played but looks almost like new M Mint Unused New Pristine no marks or signs of wear. Using the above kindly descibe the condition. thanks M___

A:
M___: Since I didn't play the record to judge its quality, then any statement I might make of condition is just a guess. So, I deliberately refuse to use Goldmine terminology, because I don't want to mislead people. It is my hope that, when seeing my descriptions, they will realize that my description is just a guess based on visual appearance. Besides, since I offer an unconditional guarantee, that should pose no problem. ... - Good luck! - Joel of satnrose ...

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