Britten - Three Suites For Violoncello Solo (2002)


Pieter Wispelwey

Benjamin Britten is one of the most striking figures among 20th century composers. His works prove that it is possible to compose moving, amusing, and poignant music, while exclusively employing the system of tonality and evading the use of serial, aleatoric and aleatoric techniques. Britten made highly eclectic use of the achievements of western musical culture.

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Pieter Wispelwey

Pieter was born in Haarlem in the Netherlands in 1962 and grew up with his two younger brothers in Santpoort, where his parents still live. At the age of 19 he moved to Amsterdam and has remained in the same 17th century house on the Noordermarkt ever since. Pieter's diverse musical personality is rooted in the training he received-firstly from regular exposure from a very early age to his father's amateur string quartet when they rehearsed at the Wispelwey home, to lessons with Dicky Boeke and Anner Bylsma in Amsterdam followed by studies with Paul Katz in the USA and William Pleeth in the UK. It was also Dicky Boeke who encouraged him to listen to as much music as possible but particularly sowed the seeds for his love of Renaissance music (Italian and English madrigalists!) and German Lied. These genres, particularly the performances of Dietrich Fischer Diskau, have been a constant source of inspiration for Pieter. In 1990 his first recording with Channel Classics, The Bach Cello Suites, was released to great acclaim and in 1992 he was the first cellist ever to receive the Netherlands Music Prize, which is endowed upon the most promising young musician in the Netherlands; thus his path was secured to the busy and varied career he has today.

Pieter has always been at home on the modern cello with metal and/or gut strings as he is on the baroque 4 string and 5 string cello. Therefore he covers a repertoire from JS Bach to Elliott Carter drawing on a palett of sounds and colours available from his range of instruments, string set-ups and bows. Having grown up in an age and country where hearing period instruments was very much the norm for concert-goers, Pieter naturally developed his conviction that, in the right conditions, much 18th and 19th century music sounds far better on gut strings than on metal. However he is not a purist in the sense that if conditions are less than ideal (no fortepiano, too big a hall, too hot, too humid, too dry acoustically etc.) then he is more than happy to pick up his modern cello with metal strings (which therefor is quite often the case).

Recitals have always played a major part in Pieter's concert diary. As a recitalist with piano, he has all the main repertoire at his disposal which is always ready for performance, often at very short notice. He is not, and has never been, the type of soloist who tours the world with one or two recital programmes and a couple of concertos per season. On the contrary, a typical week in Pieter's life (if one can be said to exist) could well include the Bach suites, with perhaps 2 different recital programmes, a couple of concerto appearances with a student masterclass thrown in for good measure! He has appeared as recitalist all over the world including the Concertgebouw (Amsterdam), Wigmore Hall (London), Chatelet (Paris), Teatro Colon (Buenos Aires) and Sydney Opera House. Future exciting engagements include Bach and Britten suites at the Lincoln Centre, New York and a return visit to the Edinburgh Festival.

Pieter has appeared with a variety of orchestras and ensembles both with and without conductors. Notable projects without conductors have been the touring and recording of the Schumann and Shostakovich cello concertos with the Australian Chamber Orchestra. This orchestra has, without doubt, provided for Pieter the happiest and most satisfying musical collaborations of his career to date, not least due to the genius of leader and musical director, Richard Tognetti. He has also appeared, with conductor, with the Rotterdam Philharmonic Orchestra, the BBC symphony orchestra, the Russian National Symphony, Camerata Academica Salzburg, Mahler Chamber Orchestra and the Deutsche Kammerphilharmonie Bremen to name but a few and has recorded with the Netherlands Philharmonic Orchestra and the Netherlands Radio Philharmonic. Future engagements with orchestras include the Halle, the Japan Philharmonic, the Leipzig Gewandhaus Orchestra under Herbert Blomstedt and the Orchestra of the Age of Enlightenment under Marc Minkowsky.

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Britten - Three Suites For Violoncello Solo (2002)


Pieter Wispelwey


Wispelwey is uitgegroeid tot een van de beste cellisten ter wereld. () () hij benadert de weerbarstigheid van Brittens muziek niets klinkt vanzelfsprekend en daardoor is hij de ideale vertolker van diens muziek () () Het vibratoloze spel van Wispelwey grijpt je bij de strot .... hij laat een onuitwisbare indruk bij de luisteraar achter.


het is een prachtplaat geworden. () () Wispelwey speelt de stukken met zijn gebruikelijke diepe muzikaliteit en een panache dat tot hyperpersoonlijke interpretaties leidt, waardoor hij zich de noten toeigent alsof Britten ze voor hem, en niemand anders, heeft geschreven. En zo moet het natuurlijk ook, al is dat slechts weinigen gegeven... met zijn dramatische vertolkingen stelt hij iedereen in de schaduw. Wispelwey is een meester.


Bij Wispelwey verandere polyfone vormen als de fuga, chaconne en passacaglia pardoes in een avonturenroman. ... De Nederlandse cellist laat wel degelijk horen wat Britten in zijn hoofd had.

    Klassieke Zaken

Wispelwey magistraal () () Wispelwey gaat meesterlijk om met de pen: ook met zijn proza brengt hij de cellosuites tot leven. () () voorbeeldig op streek in deze werken, die zo verschillend van karakter zijn. In de eerste is hij theatraal en groots, in de tweede helder en abstract en in de aangrijpende derde suite laat hij de cello lijden en in stilte versterven.

    New York Times

exquisitely personal music, some of the most moving in Britten's catalogue The music is by turns elegiac and brittle, dark-hued and almost claustrophobic in its intensity (...)

    Music Reviews

an artist of such calibre provides much to marvel at and enjoy

    Turoks Choice

superbly played ....Wispelwey plays with great imagination and considerable freedom. (...)

    International Record Review

It is for the Second Suite that this disc demands the attention even of those who have several recordings of it already. Wispelwey sees it as undervalued, and his advocacy is powerful: the Declamato is nobly eloquent, he seeks out all the recondite skill and wit of the Fuga, he loves the rougher humour of the Scherzo and the weirdness of the Andante lento, while he brings to the Ciaccona an impassioned but classical quality, amply justifying his description of it as festive.... splendidly recorded


Wispelwey has a fabulous technique, and even when he chooses the more difficult alternations of natural and harmonic sounds in the Second Suites figure, the result is phenomenally accurate and clean. Wispelwey is unbeatable

    Recommandé par Repertoire -

Recommandé par Repertoire

    Luister 10 -

Luister 10

Britten - Three Suites For Violoncello Solo (2002)


Pieter Wispelwey

Cables: van den Hul T3 series
Digital Converters: DCS DSD / DCS DA
Mastering Engineer: Jared Sacks
Mastering Equipment: B&W 803 diamond series
Microphones: Bruel & Kjaer, Schoeps
Mixing Board: Rens Heijnis custom design
Producer: Jared Sacks
Recording Engineer: Jared Sacks
Recording location: Doopsgezinde kerk Deventer, The Netherlands
Recording Software: Pyramix bij Merging
Recording Type & Bit Rate: DSD64
Speakers: Audiolab, Holland

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17102: Britten - Three Suites For Violoncello Solo
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Suite No. 1, Op.72 - Canto Primo - Sostenuto e Laramente
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Suite No. 1, Op.72 - I Fuga - Andante Moderato
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Suite No. 1, Op.72 - II Lamento - Lento Rubato
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Suite No. 1, Op.72 - Canto Secundo - Sostenuto
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Suite No. 1, Op.72 - III Serenata - Allegretto_ Pizzicato
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Suite No. 1, Op.72 - IV Marcia - Alla Marcia Mderato
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Suite No. 1, Op.72 - Canto Terzo - Sostenuto
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Suite No. 1, Op.72 - V Bordone - Moderato Quasi Recitativo
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Suite No. 1, Op.72 - VI Moto Perpetuo e Canto Quatro - Presto
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Suite No. 2, Op.80 - Declamato - Largo
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Suite No. 2, Op.80 - Fuga - Andante
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Suite No. 2, Op.80 - Sherzo - Allegro Molto
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Suite No. 2, Op.80 - Andante - Lento
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Suite No. 2, Op.80 - Ciaconna - Allegro
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Suite No. 3, Op 87 - Introduzione - Lento
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Suite No. 3, Op 87 - Marcia - Allegro
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Suite No. 3, Op 87 - Canto - Con Moto
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Suite No. 3, Op 87 - Barcarola - Lento
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Suite No. 3, Op 87 - Dialogo - Allegretto
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Suite No. 3, Op 87 - Fuga - Andante Espressivo
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Suite No. 3, Op 87 - Recitativo - Fantasico
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Suite No. 3, Op 87 - Moto Perpetuo - Presto
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Suite No. 3, Op 87 - Passacaglia - Lento Solenne
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Suite No. 3, Op 87 - Three Russian Folk Songs And Requiem Melody
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