This fine recording of Dvorák's Cello Concerto by Dutch cellist Pieter Wispelwey with Hungarian conductor Iván Fischer leading the Budapest Festival Orchestra is as generous, honest, and compelling as the music itself. Wispelwey has a rich, ringing tone that can ride over orchestral tutti fortes yet still sound fully present in intimate pianissimos. He also has an elegant technique that can accomplish anything the work asks without calling undue attention to itself. These qualities allow him to lean into the work's powerful drama and aching lyricism without dividing his attention. The commanding Fischer leads the rich-toned Budapest Festival Orchestra in an accompaniment as musically interesting and dramatically significant as the solo part.
"Tatsache ist, da Pieter Wispelwey zu allererst ganz vorzglich und spannend, souvern und aufrägened Cello spielen kann. Er tut es mit dem jeweils adquaten historischen Empfinden (…) (…) Ich empfehle jede der zehn mir vorliegenden Einspielungen gerade deshalb, weil jede einzelne ihre ganz spezifische Aura besitz, weil also Wispelwey nie gleich Wispelwey ist. (…)"
Penderecki's international recognition began in 1959 at the Warsaw Autumn with the premieres of the works Strophen, Psalms of David, and Emanations, but the piece that truly brought him to international attention was Threnody to the Victims of Hiroshima, written for 52 string instruments. Penderecki's compositions include operas, symphonies, choral works, as well as chamber and instrumental music. He has won many prestigious awards including Grammy Awards in 1987 and 1998 and 2001, and the Grawemeyer Award for Music Composition in 1992.
"…an hour of wonderfull Bachplaying on an assortment of ‘wrong’ instruments (…) This is an unusual Bach disc, but one which both revels in the music of the moment and reveals its timelessness." ~Gramophone
OK, are you ready for something completely different? From someone who has already recorded two complete sets of Bach's six suites for solo cello, BWV 1007-1012, no less? Where to begin? Dutch historical-performance specialist Pieter Wispelwey disregards the long performance tradition associated with these six suites, which seem like cousins to Bach's sonatas and partitas for solo violin but are actually quite different in character (there are no sonatas, for one thing). Even players of the Baroque cello sometimes seem to have Pablo Casals' magisterial recordings in their heads, but Casals is not in the building at all for these readings. They seem to rest on three principles.
Pieter Wispelwey and his gut-string cello partner for a second time with Paolo Giacometti in a programme of Chopin and Mendelssohn. But there is a another great musical figure on this disc – the cellist and composer Karl Davidoff, who studied with Moscheles and Mendelssohn’s violinist and composer friend Ferdinand David. Davidoff’s brilliant arrangements of the Chopin Waltzes Op. 64 form a sparkling interlude between Mendelssohn’s brilliant 2nd sonata, and Chopin’s late and great sonata for cello and piano.
…Wispelwey plays an English instrument by Barak Norman (1710) whose bright, immediate timbre is a welcome asset in these sonatas. An involving issue, enhanced by discreetly balanced and mercifully uncoloured recorded sound.