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MARATHONS, THE ULTIMATE CHAMBER MUSIC EXPERIENCE

Ana-Camelia 1 Ana-Camelia 2 Ana-Camelia 3 Ana-Camelia 4 Ana-Camelia 5 Ana-Camelia 6

Cello playing of incomparable technical and musical accomplishment.” (The Sunday Times )

Wispelwey’s playing is at once supremely lyrical and furiously intense” (The Guardian)

"Wispelwey is one of the deepest of contemporary cellists” (American Record Guide)

“Deeply communicative and highly individual performances.” (New York Times)

“An outstanding cellist and a really wonderful musician” (Gramophone)

Pieter Wispelwey is equally at ease on the modern or period cello. His acute stylistic awareness, combined with a truly original interpretation and a phenomenal technical mastery, has won the hearts of critics and public alike in repertoire ranging from JS Bach to Schnittke, Elliott Carter and works composed for him. Born in Haarlem, The Netherlands, Wispelwey’s sophisticated musical personality is rooted in the training he received: from early years with Dicky Boeke and Anner Bylsma in Amsterdam and later with Paul Katz in the USA and William Pleeth in the UK.  In 1992 he became the first cellist ever to receive the Netherlands Music Prize, which is awarded to the most promising young musician in the Netherlands.

Recent performances and coming highlights include concerto performances with the Melbourne Symphony Orchestra, Orchestre National d’Ile de France, Hong Kong Sinfonietta, Finnish Radio Symphony Orchestra, Philharmonia and the City of Birmingham Symphony Orchestra. Recital appearances include London’s Wigmore Hall, Vienna Konzerthaus, Concertgebouw Amsterdam, Brussels Flagey, San Francisco Performances, Toppan Hall Tokyo, Seoul Arts Center etc... For his complete biography click here >>> complete biography, pieter wispelwey

 

CHOPIN'S COMPLETE ETUDES,

Paolo Giacometti performs all over the world as a soloist and as a chamber musician, both on period and on modern instruments. Paolo Giacometti was born in Milan in 1970, but has been living in the Netherlands from his early childhood. He studied with Jan Wijn at the Sweelinck Conservatorium Amsterdam, where he graduated with the highest distinction. Also Gyorgy Sebök was an important source of inspiration and had a significant influence on his musical education. 

He has won many prizes at both national and international competitions and has played with renowned orchestras under distinguished conductors such as Frans Brüggen, Kenneth Montgomery, Laurent Petitgirard, Michel Tilkin and Jaap van Zweden. With Jaap van Zweden and the Netherlands Symphony Orchestra he performed Beethoven’s first and third piano concertos during a successful tour in the United Kingdom. More recently he played Rachmaninov's 3rd pianoconcerto under the baton of Jurjen Hempel with the Jersey Symphony Orchestra. 2019 he will tour with Liszt’s “Malédiction” piano concerto with the Dutch Ciconia Consort.

Apart from his activities as a soloist, Paolo Giacometti’s love for chamber music has resulted in a successful co-operation with leading musicians such as Pieter Wispelwey, Gordon Nikolich, Alois Brandhofer, Janine Jansen, Bart Schneemann and Emmy Verhey. Together with violinist Candida Thompson and cellist Xenia Jankovic, both refined musicians and equally at home on modern as on period instruments, Paolo Giacometti founded a couple of years ago the Hamlet Pianotrio.

Discography : Paolo Giacometti records exclusively for Channel Classics. His recordings have been widely acclaimed by the international press. Amongst them Rossini’s complete piano works, a remarkable project that started in 1998 and for which Italian critics wrote: "... Rossini has finally found his pianist ...". For the third recording of this series Giacometti was distinguished with the Edison Classical Music Award 2001.

 

"TOGETHER ALONE"

“I think that playing chamber music is about this wonderful tension between being together and, at the same, time being free. About being a soloist, yet listening to what your musical partner is doing and going into that direction together."

"When it happens, it is absolutely marvelous, but you always have this strain between your phrase, of how it resonates and helps the phrasing of the other,” said pianist Paolo Giacometti in a phone interview on the eve of his Israeli debut at the Sixth Eilat Chamber Music Festival. “I call this energy going back and forth. You can compare it to dance partners – it can be awesome only if the qualities of each individual help to enforce each other.” And he has nothing but praise for his longtime musical partner, Dutch cellist Peter Wispelwey, with whom he arrives in Israel. “He is a very close friend of mine, and it is wonderful when you go on tour together.""Sometimes, when you go alone and play solo, it can feel quite lonely.”

"COMPLETE SONATAS FOR PIANO AND CELLO"

OR THE DOUBLE BILL :

"COMPLETE SONATAS & VARIATIONS FOR CELLO AND PIANO"

PERFORMED OVER TWO CONSECUTIVE CONCERT

 


 

AND ... THE CELLO TAKES IT ALL

Wispelwey adopts and adapts Brahms ... for the cello

When Pieter Wispelwey points out that by playing neither the violin, viola, flute or arpeggione he’s missing out on no fewer than 14 pieces by Schubert and Brahms, you can’t help feeling for him. ‘Should I then, really, resist my urge to touch them and turn them into cello pieces?’ he asks. Well, he thinks ‘no’. So here we are with Vol 2 of the six-part series in which he’s doing exactly that, and I’d describe this lovingly produced studio recording as a brave, brilliantly played mixed bag ...

Assigning works written for one instrument to another is certainly one way of eschewing a museum culture. Admittedly, not all figuration originally intended for the violin will transfer effectively to the cello, but in Brahms’s glorious A major Sonata judicious amendments of tessitura work so naturally that one could easily imagine that it was originally conceived for this instrument. Wispelwey is a trailblazing virtuoso, opening up exciting repertoire directions and proving that a new guise for familiar repertoire can be entirely idiomatic

As an interpreter of Brahms, he integrates the lilting melodies and the more fervent writing with rigorous rhythmic underplay, dressed in well-nuanced phrases. Giacometti never obscures the cello and is a magician of balance and colour. In the F major Sonata, Wispelwey projects the heroic opening with tremendous authority, initiating the dialogue with the piano much in the manner of a play. Both players bring out the introspective poetry of Brahms’s melodic invention in the slow movement, whereas the ensuing Allegro appassionata grabs us by the collar. But all is well as the sunny finale restores equilibrium.

(Quotes by Joanne Talbot Strad magazine)

 

 

 


 

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