20 years with Trio Fibonacci: do you have an anecdote to share?
I have, of course, many beautiful memories of my 20 years in the Trio Fibonacci, but I think it’s above all our collaboration with the British composer Jonathan Harvey, who died in 2012, that comes to mind. Our first CD was devoted to his works, and we saw each other several times in the following years. He was a composer who knew the cello intimately, like very few before or since, with a rather unique and fascinating compositional voice. He married electroacoustic and instrumental sounds with incredible delicacy. He was a Christian, but much influenced by Buddhist thinking – a spiritualism that marked both his art and his personality. In short, a very touching person that I miss!
Thinking back on your tours, which audience seemed the warmest?
I was struck by the enthusiasm of the Argentine public. We presented a fairly contemporary program, not necessarily very accessible, but we immediately saw that they were extremely cultivated people and remarkably open-minded.
Which concert halls have impressed you?
It’s hard not to be impressed by the acoustics and visual appearance of the old European concert halls. I’m thinking especially of the Holywell Room in Oxford, an intimate space built in 1748 where Handel played, and the magnificent Teatro Farnese in Parma with its columns and statues of knights on horseback.
Which particular work are you eager to interpret and why?
The Debussy Trio: a youthful work by the great French master that I have never had the opportunity to play before.
Do you feel the trio has gained a certain maturity after 20 years? Absolutely. We have gone through a vast variety of repertoire through the years that has allowed us to grow as musicians and human beings. That said, we have never been afraid to take risks. I think that is precisely why we have managed to maintain a certain freshness in our activities. Above all, I find that time flies!