"…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
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.
…This release joins the elite of great recordings, performances that will likely to be enjoyed for as long as music endures. (…) If you think Vivaldi a bore, try this and experience conversion.
The compositions on this CD encompass an entire century; all of them are French. Of course, they do not represent the entire range of a century of French cello music, but on the other hand they are all completely un-German! I thought that it would be a good idea to offer the listener of the late 1990s a sort of double upbeat for the masterly Chopin Sonata, in this way arriving at the 1840s by means of two successive steps. The Poulenc Sonata, although dating from 1948, is more a reflection of the Paris of the 1920s anti-aesthetic decadence and coolly presented cabaret-style sentiment. The work is remarkable for its refined surrealism, tinged with an intriguing hint of Catholic irony and seduction in the slow movement, and the moments in the last movement where the energy, for the first time, acquires a sarcastic tint, succeeded by an even more macabre quality which evokes Prokofiev…..
- Pieter Wispelwey
After a highly acclaimed recording of Briten’s Cello Symphony (ONYX4058) Pieter Wispelwey and the Flanders Symphony Orchestra, conducted by Seiko Kim, turn to two romantic cello concertos whose neglect is hard to fathom. Lalo, unusually for a French composer in the mid 19th century, was drawn to chamber music, and formed a string quartet (in which he played viola, and later second violin) that championed the works of Haydn, Mozart and Beethoven. His passion for chamber music developed to embrace large scale orchestral works – two violin concertos, the famous 'Symphonie espagnole' for violin and orchestra, a symphony in G minor, the Piano Concerto and the concerto recorded here: the Cello concerto in D minor of 1877.
It is now generally accepted that Vivaldi wrote ten cello sonatas – one of them now lost. Six (RV 47, 41, 43, 45, 40 and 46) of the surviving nine were published posthumously as a set, in Paris, by Charles-Nicolas Le Clerc around 1740. The other three survive in manuscript collections: RV 42 (along with RV 46) is preserved in the library at Wiesentheid Castle at Unterfranken in Germany; RV 39 and 44 (along with RV 47) are to be found in a manuscript in the Naples Conservatoire.
Geminiani’s opus 5 consists of six cello sonatas, and was first published in Paris in 1746. The twenty years either side of 1740 saw the cello rise to a very fashionable position in French musical society, largely at the expense of the bass-viol – a change of fashion which stirred such strong emotions that in 1740 Hubert Le Blanc published his fierce Defense de la basse de viole contre les entreprises du violon et les pretensions du violencel. Music such as that by Vivaldi and Geminiani which is played here by Roel Dieltiens and his colleagues must have made a powerful counter-case for the cello.