Reger - 3 suites for cello solo & works for cello and piano

WISPELWEY, PIETER - violoncello
GIACOMETTI, PAOLO - piano

Reger,

Awards

Diapason d'Or

Edison Award

Luister 10

Physical CD		Price
No (In stock)		$22.96

Details

The teachers of the German composer Baptist Joseph Maximilian Reger (1873-1916) included the renowned theoretician Hugo Riemann. From 1902 onward, Reger was organist of the Leipzig Thomaskirche. In 1905, Reger was appointed professor of organ and composition at the Akademie für Tonkunst in Munich, and two years later he also became professor of organ as well as cantor in Leipzig. During these years Reger began to tour throughout Europe as a composer, pianist, conductor, and organist. Between 1911 and 1915 he was the conductor of the renowned Meininger Hofkapelle. One of the greatest contrapuntists of his time, Reger was called ‘the son of Brahms and the grandson of Bach’. Reger’s compositions had a significant influence on later German composers such as Hindemith and Hartmann. Reger’s cello suites (1914) are elegantly written, warm-blooded romantic works; stylistically, they really belong to the 19th century. The 19th century itself produced no music for solo stringed instruments which currently remains in the repertoire. It is Reger’s music, then, which actually gives us the pure sound of a solitary cellist, singing, preluding, improvising, and practising. The pieces are spontaneous and unpretentious in character. They make playful allusions to Bach here and there; in the best late Romantic tradition, they often lose themselves in chromaticism and emotional explosions - not to mention the luxuriant use of thirds and sixths which hum and gurgle so gratefully in the cello’s timbre. This is likeable music, uninhibited and direct in its expressivity and filled with moments of moving intimacy.....

Additional Information

Main artist	WISPELWEY, PIETER - violoncello GIACOMETTI, PAOLO - piano
Composer	Reger,
Inlay	M. Reger Three Suites for violoncello solo, Works for violoncello and piano Pieter Wispelwey, violoncello & Paolo Giacometti, piano For violoncello solo: Suite 1, op.131c no.1; Suite 2, op.131c no.2; Suite 3, op.131c no.3; Works for cello and piano: Aria, op.103a no.3; Kleine Romanze, op.79e, 2; Caprice, op.79e, 1; Wiegenlied, op.79d, 1
Biography	Pieter Wispelwey is one of the first of a generation of generalist specialists, performing equally outstandingly on historical instruments as on modern instruments, based on and inspired by expert stylistical knowledge, highly original and deep musical understanding and superior technique. His repertory ranges from works by J. S. Bach to Elliott Carter, Kagel, Schnittke and young contemporary composers. Pieter Wispelwey was awarded the Elizabeth Everts Prize, an award given biennially to the Netherlands most promising musician in 1985. In 1992 Wispelwey received as first cellist the highly prestigious Netherlands Music Prize. For many years he has given complete, widely acclaimed, performances of the suites for cello solo by J.S. Bach and Britten and the sonatas by Beethoven and Brahms, on period as well as on modern instruments. Pieter Wispelwey is a regularly returning guest in the Concertgebouw in Amsterdam, performing the baroque, classical, romantic and modern repertory. In 1995 he appeared in recital o.a. in Hamburg, Leipzig, Düsseldorf, London, Brussels, Colmar, Saintes, Mulhouse, Sidney, Boston, Washington, Montréal and Québec. In 1996 he is scheduled for concerts in Paris, Nantes, Marseille, Nice, Rome, Florence, Milan, Vienna, Salzburg, Hamburg, Bonn, Bremen, Antwerp, Bruges, Seoul, Hong Kong, Beijing, Shanghai, Jakarta, London, Washington, Chicago, Québec, Montréal a.o. Pieter Wispelwey received his early training from Dicky Boeke and Anner Bijlsma in Amsterdam and continued his studies with Paul Katz (Rochester, USA) and with William Pleeth in England. Wispelwey performs regularly as a soloist with orchestra and has recently played concertos by Dvorák, Elgar, Tchaikovski, Shostakovitch 1 & 2, Dutilleux, Ibert, Schnittke, Haydn, Beethoven (triple), Brahms (double) performing a.o. in the Concertgebouw in Amsterdam and with the Dutch and German Radio Chamber and Philharmonic Orchestras, the Netherlands Philharmonic Orchestra from Amsterdam, the Philharmonic Ungarica, the Netherlands Wind Ensemble, the Moscow Chamber Orchestra, the Westdeutsche Sinfonia, the Stuttgarter Chamber Orchestra and Florilegium (London). In 1995 he made a highly successful tour on Australia with ABC Orchestras. His CD’s with all Bach suites, Beethoven and Brahms Sonatas all received wide acclaim in the international press, several received international and national awards. Coming years he will continue recording the major Sonata and Concerto repertory exclusively for the young quality label Channel Classics Records from Holland.
Awards	Awards: Edison Award/ Luister 10/ Diapason d’Or
Quotes	(...) muziek van Reger krijgt onder Wispelwey’s handen een allure die ‘het pure geluid van een in romantisch idioom eenzaam zingende, preluderende, improviserende en oefenende cellist’ overstijgt. (...) Volkskrant, May 1996 (...) Het intensieve spel van Wispelwey is loepzuiver (...) Luister, December 1996 (...) Une musique chantante et intimiste, qui s'écoute avec infiniment de plaisir. (...) (...) Le son du violoncelle monté de cordes en boyau, provoquera chez vous, auditeurs et auditrices sensibles, d'irrépressibles frissons de bien-être. Alors, à vos cordes. Frans tijdschrift, December 1996 (...) Zestfully played (...) (...) These vigorous wordks have a bounce, a gritty sonority, a tunefulness and, above all, a lack of pretension that lifts them above pastche. (...) New York Observer, september 1996 (...) Wispelwey a ici un son royal et les préludes, fugues, gavottes, gigues rayonnement de mille feux (...) (...) Paolo Giacometti accuse le charme et l'expressivité d'une musique qui exige de l'interprète un peu d'imagination pour s'imposer, ce qui est vraiment le cas ici. (...) Diapason, september 1996 (...) velouté de la couleur, moelleux du son, superbe chaleur (...) Répertoire, october 1996 Pieter plays Reger with deftness and intelligence. For this recording, he strung his cello with gut on the two highest strings, which is what the cellists of a century ago would have used. This yielts a muted and multicolored sound, but Wispelwey 's still so huge that I wonder what he would sound like with modern steel strings! (...) (...) Paolo Giacometti joins Wispelwey on these pieces for performance of delicate finesse.(...) Audio, June 1997
Format	No
Running time	6110
Year of release	1996

Year of release:

1996

Running time:

6110

Quotes:

(...) muziek van Reger krijgt onder Wispelwey’s handen een allure die ‘het pure geluid van een in romantisch idioom eenzaam zingende, preluderende, improviserende en oefenende cellist’ overstijgt. (...) Volkskrant, May 1996 (...) Het intensieve spel van Wispelwey is loepzuiver (...) Luister, December 1996 (...) Une musique chantante et intimiste, qui s'écoute avec infiniment de plaisir. (...) (...) Le son du violoncelle monté de cordes en boyau, provoquera chez vous, auditeurs et auditrices sensibles, d'irrépressibles frissons de bien-être. Alors, à vos cordes. Frans tijdschrift, December 1996 (...) Zestfully played (...) (...) These vigorous wordks have a bounce, a gritty sonority, a tunefulness and, above all, a lack of pretension that lifts them above pastche. (...) New York Observer, september 1996 (...) Wispelwey a ici un son royal et les préludes, fugues, gavottes, gigues rayonnement de mille feux (...) (...) Paolo Giacometti accuse le charme et l'expressivité d'une musique qui exige de l'interprète un peu d'imagination pour s'imposer, ce qui est vraiment le cas ici. (...) Diapason, september 1996 (...) velouté de la couleur, moelleux du son, superbe chaleur (...) Répertoire, october 1996 Pieter plays Reger with deftness and intelligence. For this recording, he strung his cello with gut on the two highest strings, which is what the cellists of a century ago would have used. This yielts a muted and multicolored sound, but Wispelwey 's still so huge that I wonder what he would sound like with modern steel strings! (...) (...) Paolo Giacometti joins Wispelwey on these pieces for performance of delicate finesse.(...) Audio, June 1997

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