20 DVOŘÁK | CELLO CONCERTO This reflection on tone and colour led you to look for a particular instrument. How did you come to record on Antônio Meneses' Matteo Goffriller? I usually play on a modern cello by Frank Ravatin, however for this recording, I wanted to explore new sound dimensions and gain access to a voice from the past. With the help of the Société Cello Invest and its director Ailbhe Chereau O’Rourke, I was able, over several months, to benefit from the loan of this fabulous Groffriller, made in Venice between 1700 and 1710. I went to fetch it in Canada, since it belongs to the company Canimex Inc., which possesses one of the largest collections of instruments in the world and regularly makes them available to young musicians. My encounter with this cello was love at first sight. It responded to my playing with incredible immediacy. It should be noted that it had been magnificently played and maintained for some thirty years by Antônio Meneses, until his tragic passing in August 2024. I thus had the impression of driving a Ferrari, with so many possibilities opening before me and without sensing any limits. It is a rare and exhilarating feeling. This encouraged me to push my playing further, both in power and in subtlety. Each string of this instrument possesses its own particular timbre, allowing the creation of a sound of exceptional richness, roundness, and depth. In addition, I was able to use a remarkable bow by Lamy fils dating from the early twentieth century.
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