Classical Music: Pablo Ferrández Moonlight Variations

Moonlight Variations

Dvořák Rusalka, Op. 114, Act I: Song to the Moon; Debussy Beau Soir; Schubert Nacht und Träume, D827; Chopin Nocturne No. 20 in C sharp minor; Nocturne No. 2 in E flat major, Op. 9 No. 2; Liszt Liebestraum, S541 No. 3 (Nocturne in A flat major); Schumann Kinderszenen, Op.15: No. 7. Träumerei; Tchaikovsky 6 Pieces, Op. 51: No. 6. Valse sentimentale; Nocturne, Op. 19 No. 4; Souvenir d'un lieu cher, Op. 42: No. 3 Mélodie; Variations on a Rococo Theme, Op. 33

Pablo Ferrández (cello), Julien Quentin (piano)
Swedish Chamber Orchestra, Martin Fröst
Sony Classical 19802898632
https://www.sonyclassical.com/news/news-details/pablo-ferrandez-1

Recording for the first time on his recently acquired 1689 Archinto Stradivarius, Ferrández has found his ideal companion for this twilight voyage. The instrument's voice emerges like moonlight itself—warm, enveloping, and mysteriously luminous. As the cellist notes, this cello possesses an unmatched warmth that perfectly suits his vocal approach, and indeed, every phrase seems to breathe with the hushed intimacy of whispered secrets shared in darkness.

The centrepiece Tchaikovsky's Rococo Variations unfold like moonbeams playing across a still lake—each variation a different reflection, a new angle of silvery light. Ferrández navigates these technical challenges with the confidence of someone who has walked this musical path for two decades, yet his interpretation feels freshly discovered. His rich, resonant tone shapes each variation with both technical precision and expressive depth, moving between spirited passages and melancholy interludes like clouds drifting across the lunar face.

The surrounding repertoire blooms in this midnight garden with particular beauty. Debussy's Beau Soir unfolds like evening jasmine releasing its fragrance into the night air, while Dvořák's Song to the Moon becomes a tender conversation between earth and sky. Chopin's E-flat Nocturne flows with the natural lyricism of a moonlit stream, and Liszt's Liebestraum No. 2 shimmers with romantic longing that speaks directly to the soul.

In the intimate duo pieces, Ferrández's regular piano partner Julien Quentin provides sensitive accompaniment that complements the cellist's nocturnal vision—their established chemistry creating seamless musical conversations where piano and cello intertwine like moonbeams and shadows

Under Martin Fröst's sensitive direction, the Swedish Chamber Orchestra provides an ideal backdrop for Ferrández's expressive range. The collaboration captures both the cellist's Spanish passion—inherited from his namesake Pablo Casals—and the cool, crystalline beauty of Nordic musical sensibilities. Together they create an atmosphere where Ferrández's "full gamut of emotions" can unfold naturally, from sensual whispers to passionate declarations.

"I feel more creative at night," Ferrández confesses, and this album serves as compelling evidence of nocturnal inspiration's unique power. Like the composers he celebrates—each of whom felt the world transform once the sun disappeared—Ferrández has tapped into something primal and mysterious about music's relationship with darkness. His warm, sonorous tone can indeed "turn its bow to anything,", moving seamlessly between passion and tenderness, between earthbound longing and celestial aspiration.

Moonlight Variations succeeds as both a showcase for Ferrández's considerable artistry and a meditation on music's ability to illuminate the darkness within and around us. While not every moment achieves transcendence, the album's overall vision is compelling and beautifully realised. This is chamber music that invites contemplation, an invitation to step into the night and discover what secrets await in the shadows between the notes.