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For a long time, the cello was considered an accompaniment instrument. It was not until Johann Sebastian Bach (1685-1750) that the cello finally gained its title of nobility. Indeed, his 6 Suites for solo cello composed between 1717 and 1723 literally changed the fate of the instrument. From that moment on, the performers had to develop their technique to become true virtuosos like for example Evaristo Felice Dall'Abaco, the father of Joseph Clement Ferdinand Barone Dall'Abaco. He was well known all over Europe and was keen to train his son carefully. Joseph Clement Ferdinand Barone Dall'Abaco was therefore logically also an internationally respected cellist. He worked for many years as a cellist of course but also as a composer in the most prestigious courts of Europe. By composing his 11 caprices, Joseph Clement Ferdinand Barone Dall'Abaco offered to the following generations a poignant testimony of this period of intense instrumental research. He composed a cycle of original pieces that still allow us today to rediscover the technical possibilities of the instrument as well as its immense dramatic potential. Playing the 11 Capricci of Clement Ferdinand Barone Dall'Abaco on a G.Grancino of 1679 which has undergone this fantastic evolution... is a strong symbol! An original, virtuoso and creative program that promises a unique evening.

ESTELLE REVAZ

"Estelle Revaz is a sincere and profound musician, with the gift of great musical curiosity" Gautier Capuçon

Curious: always with an eye to original programmes, her horizons embrace great works of the standard repertoire and extend beyond to new music, as shown by her regular collaboration with contemporary or unknown composers.

Enlightened: as proof a discography hailed by the international press, with programmes that are always the fruit of much thought, juxtaposing tradition and modernity (Bach & Friends), showcasing the music of her Swiss homeland (Cantique, Journey to Geneva) or creating links between different composers (Fugato).

Dynamic: charismatically appealing, she is a favourite of audiences and media the world over, clearly demonstrated by appearances on Radio France, Deutschlandfunk, WDR3, as well as Radio Télévision Suisse, RTBF in Belgium, and TV5 Monde in France.

Dedicated: during the pandemic, she has spared no effort emphasising how essential culture is, and relaying the concerns of those who produce it to decision-making politicians.

Passionate about chamber music, Estelle Revaz regularly performs in numerous countries, throughout Europe, Asia and South America. She is invited to renowned festivals such as the Gstaad Menuhin Festival, the Verbier Festival, the "Septembre Musical", the Colmar International Festival and the Pablo Casals Festival, with among other musical partners, Renaud and Gautier Capuçon, Christian Chamorel, Finghin Collins, Shani Diluka, François-Frédéric Guy, François Killian, Hannes Minnaar, Cédric Pescia, Andrey Baranov, Alexandra Conunova, Lena Neudauer, Pierre Génisson, Ralph Manno and the Quartet Sine Nomine.

After beginning in Switzerland, she pursued her studies in France at the Conservatoire National Supérieur de Musique et de Danse in Paris (Xavier Gagnepain, Jérôme Pernoo), as well as in Germany, at the Hochschule für Musik und Tanz in Cologne (Maria Kliegel).

Estelle Revaz plays a cello by G. Grancino (1679) and uses a bow made by J. Eury (1825) generously lent by a Swiss foundation.

"Estelle Revaz brings these almost unknown works by Dall'Abaco back to life with extraordinary sensitivity. These Caprices for solo cello might evoke Bach's famous Suites, but this is not the case - rather, they are études in which the composer explores the full expressive potential of the instrument. Estelle Revaz had the courage to take on this challenge, and the result is exceptional. Her interpretation is deeply felt; she makes the soul of her instrument sing - here, a magnificent 1679 cello with a warm, enveloping, and powerful sound. One must allow oneself to be swept away, drawn into these musical universes - like uncharted worlds waiting to be discovered: pure artistry! A rare and precious recording. The result is exceptional!"

"The sound has exceptional depth and resonance. Standing just a few meters away from it transports you to another sonic world. It is also the talent of the performer, who delves deep, explores, and expresses the full richness of timbres. In terms of virtuosity, between triple stops and otherworldly vocal inflections, it is dazzling - yet always perfectly elegant. The cellist plays with boundless generosity ; her cello seems to breathe, from its deep, resonant lows to its radiant highs. At the time of the Caprices by Dall'Abaco, at the end of the 18th century, the cello had not yet become a lyrical instrument. But Estelle Revaz unlocks its extraordinary expressive potential, mastering dynamic contrasts, natural agogics, a rich palette of timbres, sheer power, a fiery temperament, and a playful spirit."

"Estelle Revaz lifts this unknown treasure by Dall'Abaco with her playing at a high technical level. Her flawlessly intoned sound is just as convincing as her clear phrasing. She approaches the dynamic gradations with great finesse. She also finds the connection between gallant expression on the one hand and baroque appeal on the other. The works thus present themselves as a link between Bach's suites, written around half a century earlier, and subsequent compositions."

"Now her new album, Caprices for Violoncello Solo, is being released. On it, the Geneva-born cellist plays eleven pieces by Joseph Dall'Abaco, an 18th-century composer who knew how to give the cello, sometimes undervalued as a mere accompanying instrument, a fitting place. Similar to Johann Sebastian Bach's famous cello suites, Dall'Abaco's Capriccios have an unusually contemplative and engaging effect when listened to. Estelle Revaz plays the pieces on a historical instrument from 1679, albeit with modern metal strings. She is sure that the composer would also have liked to have had this option, says Revaz. One thing is certain: artistically, the album is a success."

"Her playing is exciting and full of risks. The eleven capriccios by Joseph Dall'Abaco (1710- 1805), composed in 1770, are proof of this. In these captivating works, Revaz seeks a speaking tone that can sometimes be sacrificed to beauty. That's what makes this recording so lively and exciting."

"Estelle Revaz has just recorded a fascinating curiosity, the complete 11 Caprices for solo cello by Joseph Dall'Abaco (1710-1805). These pieces, inspired by Baroque rhetoric, display a scathing virtuosity and a captivating narrative sense."

"A capriccio is always a small but pleasurable violation of the applicable rules. It is about the use of imagination and playful ingenuity, both in composition and in interpretation. The Swiss cellist Estelle Revaz is exactly the right person for this music: curious, modern, very committed and deeply connected to tradition. Dall'Abaco composed the 11 Capriccios for solo cello around 1770. Today, they are still considered by cellists to be in many ways comparable to Bach's cello suites. With his 11 Capriccios, Dall'Abaco created an important work that continues to impress today."

"Around 1770, Dall'Abaco composed 11 delightful caprices for solo cello that recall Johann Sebastian Bach. The talented cellist Estelle Revaz fully explores the dramatic and technical potential of these pieces. The high demands placed on the soloist evoke the ?diabolical? virtuosity of a Paganini. Her spirited performance is always infused with joy in playing and a dance-like flow. The very soul of this music comes to life in Estelle Revaz's moving interpretation."

"In the path paved by Bach?s Suites for solo cello, Joseph Dall'Abaco's eleven Caprices demonstrate how the instrument fully embraced its role as a soloist in the mid-18th century. Driven by her passion for rare gems, Swiss cellist Estelle Revaz delivers a refined and masterful interpretation. Her performance reflects her personality: committed, eschewing the easy path in her choice of repertoire, constantly seeking authenticity, embracing great freedom in phrasing, and bringing diversity to this collection?often with panache."