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Three Suites For Cello Solo

Pieter Wispelwey, Paolo Giacometti

Max Reger

SKU: 9596

Year of release: 1996

Suite 1, Op. 131c nr. 1 12:11
1. Praeludium Max Reger 03:24
2. Adagio Max Reger 05:20
3. Fuge Max Reger 03:26
Aria, Op.103a nr. 3 04:46
4. Adagissimo Max Reger 04:46
Suite 2, Op. 131c nr. 2 18:53
5. Praeludium Max Reger 05:42
6. Gavotte Max Reger 03:56
7. Largo Max Reger 05:27
8. Gigue Max Reger 03:46
Kleine Romanze, Op. 79e, 2 02:03
9. Andante Max Reger 02:03
Caprice, Op. 79e, 1 01:56
10. Vivace Assai Max Reger 01:56
Suite 3, Op. 131c nr. 3 19:56
11. Praeludium Max Reger 05:47
12. Scherzo Max Reger 06:34
13. Anante Con Variationi Max Reger 07:35
Wiegenlied, Op. 79d, 1 01:24
14. Allegretto Con Grazia Max Reger 01:24
Total time: 61:13

About this album

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…..

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Reviews

Frans tijdschrift

(...) 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.

New York Observer

(...) 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. (...)

Volkskrant

(...) 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. (...)

Répertoire

(...) velouté de la couleur, moelleux du son, superbe chaleur (...)

Audio

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.(...)

Luister

(...) Het intensieve spel van Wispelwey is loepzuiver (...)

Diapason

(...) 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. (...)

Technical Specifications

Digital To Analog Convertersony
Mastering EquimentSony DAE 3000
Mastering EngineerBert van der WolfS
Mixing ConsoleRens Heijnis
MicrophonesBruel & Kjaer, Schoeps
Recording Formatpcm 44.1
Analog To Digital ConverterdCS900
Recording DateSeptember 1995
Recording Locationprotestant Church Renswoude, The Netherlands
EditingBert van der Wolf
Recording EngineerBert van der Wolf
ProducerTed Diehl