#Pieter Wispelwey

[contemporaryclassicalfan]

Goebaidoelina reikt naar de hemel in Franciscus' Zonnelied

Op 4 november 2024, tijdens de tiende editie van de Amsterdamse Cello Biënnale, presenteren Cappella Amsterdam en de cellist Pieter Wispelwey het indrukwekkende Zonnelied van Sofia Goebaidoelina. Het stuk, in het Engels aangekondigd als Canticle of the Sun, is gebaseerd op het gelijknamige loflied op de Schepping van de Heilige Franciscus. Met haar rotsvaste geloofsovertuiging is Goebaidoelina…

[gasparodasalo]

Ludwig van Beethoven (1770-1827) - Sonata for Horn or Cello and Piano in F-Major, Op. 17, I. Allegro moderato. Performed by Pieter Wispelwey, cello, and Lois Shapiro, fortepiano, on period instruments.

[ruhevoll]

m e l a n c h o l y

[las-microfisuras]

A veces sucede, de pronto, de forma inesperada. Oigo un sonido al fondo del ruido, me detengo y escucho. Entre el exceso del mundo encuentro en la música un refugio donde detenerme y respirar, aunque solo sea brevemente.

Un violonchelo acompañado de voces, instrumentos. Movimientos cortos, un sonido extático, prolongado, seguido de otras voces, más bajas que forman un patrón sibilante; el violonchelo cuyos tonos entrecortados desean elevarse; silencio; el mismo violonchelo, profundo, luego de nuevo las voces lejanas. Un inmenso templo de aire envuelve esta música. El coro, infinitamente lejano, dialoga con el violonchelo. No necesito saber que cantan -todo está en armonía con el paisaje de fuera-. Algo está pasando en donde las palabras no tienen cabida, unos sonidos agudos, como de campana, de un instrumento que no conozco; una música que no se deja calificar, un santuario de sonidos al que apenas tengo acceso o quizá ni eso; una radiación, un mensaje fuera del tiempo que alguien ha escrito. Una música que quiere desaparecer una y otra vez conmigo, transparente, intocable e imposible de describir. Sofia Gubaidulina, The Canticle of the Sun, interpretado por Pieter Wispelwey.

• Cees Nooteboom, 533 días

El ojo del tiempo, Siruela.

Trad: Isabel-Clara Lorda Vidal

[markseow]

 Programme notes: Bach Cello Suites 4 October 2022

Performed by Alice Neary, Leo Popplewell, Ben Tarlton, Laura Van Der Heijden, Pieter Wispelwey, Nathaniel Boyd. Temple Church, London

[hardcorefornerds]

My Top Albums (Not) of 2018

So this year I listened to very little ‘new’ music, in terms of releases - the prime exceptions being Robocobra Quartet’s Plays Hard To Get and Tim Hecker’s Konoyo - but I did listen to an awful lot of music that was new to me. In particular, I feel like this year unlocked classical music for me - or rather (to get the historical terminology correct) baroque music, with some earlier Renaissance polyphony and later 19th century Romanticism thrown in.

Most of this has been done through Spotify, with help from second-hand vinyl, the Irish classical music radio station Lyric FM (and in particular its Baroque-heavy late-night and early-morning shows). Although I got into the habit of using Spotify’s ‘Daily Mix’ playlists to dip in and out of different works, and occasionally to use the curated playlists to stretch my taste a little, I feel as if my listening still revolved primarily around albums.

Although I’ve made a couple of playlists this year based on Baroque/Renaissance Masses and counterposing instrumental music to Tim Hecker’s album, I wanted to put together a list of albums that a) I listened to a lot and b) were important to expanding my musical horizons this year. I think they are all quite accessible, in that they got around my difficulties in listening previously to other forms of classical music, particularly symphonies or longer choral works: these are often quite direct, even almost ‘poppy’.

1. Glenn Gould, Glenn Gould Plays Bach: The Well-Tempered Clavier Books I & II, BWV 846-893

It wasn’t the first thing I listened to this year (I started off with Bach cantatas) but this was probably the most important. It’s easy to find superlatives in descriptions of Gould’s work; I won’t attempt to add any. In fact, I mostly used this as background music while working - the amount of the music, combined with its intricacy and variety while still being in the same textural register, suits a kind of easy stimulation.

(There’s also the fascinating technological history behind the title: the journey from just intonation, meantone and ‘well’ temperament to modern twelve-tone equal temperament (12TET) where musical notes become evenly separated logarithms. This Howard Goodall documentary is a very good overview; then there are questions like does Chopin sound better on a piano tuned to classical well-temperament and this in-depth demonstration marred, ironically, by low-quality VHS recording. I’m not a partisan, I just find it interesting!)  

Also recommended: I haven’t listened seriously to much of Gould’s other recordings, of Bach or others, so I guess that will be a 2019 ambition - particularly the Goldberg Variations and Art of the Fugue.

2. Ensemble Zefiro, Jan Dismas Zelenka: Sei Sonata

I was already listening to Zelenka’s choral works last year, but it was this year I found this collection of six sonatas (’sonata’ is an instrumental work, ‘sounded’, as opposed to a ‘cantata’ which includes both singing and instrumentation). What I like about them is they are all primarily for woodwinds: two oboes and a bassoon, which to my mind gives them a jazzy feel - or “literally breathless counterpoint”, as this review puts it. There are quite a few different recordings, although Zelenka is only undergoing a relatively recent revival - which points to the attractions and quality of these pieces. This was the first one I heard, and for whatever reason I still prefer it the most. 

Also recommended: Anything and everything else by Zelenka, particularly his Masses and The Lamentations of Jeremiah, which I discovered in 2017.

3. Alban Berg Quarttet, Beethoven: The Late String Quartets

So the Fifth Symphony is a lot of fun, but boy, these quartets... For me it started with the Grosse Fugue, and I kept going around it. The emotions, the dynamics - the Cavatina, the ‘Heilige Dankesang’ - these are the apotheoses of classical music for me so far. I think I chose the Alban Berg Quarttet by virtue of their name’s association with dissonance, and I enjoy the crunch of their performance. Like the Gould, the length of this ‘album’ - containing five quartets, Nos.12-16 - makes it good for sustained listening with enough variety.

Also recommended: (by the same group) Brahms: String Quartets

4. Jascha Heifetz, The Heifetz Collection; Vol. 17; Bach: Sonatas and Partitas 

Actually, I’m not sure how to rank Beethoven’s string quartets and Bach’s pieces for solo violin. I probably like the variety of structure in the former more, but these are amazing (and often hard to believe in the performance that they are solo) with so much depth and complexity. Again, there are more recent recordings but Heifetz is very hard to best. 

Also recommended: Biber: Mystery Sonatas, for the hardcore Baroque violin with extra Catholicism (they’re also known as the Rosary Sonatas, ‘Mystery’ of course here being in the religious sense) as well as the lulz at the composer’s name.

5. Dresden Kammerchor, Hans-Christian Rademann, Schütz: Italienische Madrigale

Originally a vinyl find, along with another boxset of Bach’s Brandenburg Concertos (which maybe deserve a space here also, if there wasn’t enough Bach already). It marked a step away for me from purely religious choral works into secular vocal polyphony (madrigals). Everything by Schütz I’ve heard is great, and handily they exist in Spotify in a series of recent recordings (if I still had a CD player to use, I’d probably buy the lot). 

Also recommended: All of Schütz’s works in this collection, but especially the Kleine Geistliche Konzerte 

6. Oxford Camerata, Jeremy Summerly, Palestrina: Missa Papae Marcelli

Just sublime polyphony. (See also Guillaume de Machaut, Guillaume du Fay, Hildegarde von Bingen... the Spotify algorithm is all over this stuff)

Also recommended: His madrigals, natch.

7. Collegium Vocale Gent, Philip Herreweghe, Monteverdi: Vespro della Beata Virgine

Not included in this list are Bach’s big vocal works - the Mass in B Minor, the Matthew and John Passions - which are undeniably great, but hard to listen to for too long I find. For Baroque flair and drama, I found myself turning to this (a recording that was actually released in 2018) more regularly.

Also recommended: Continuing the Italian theme, Vivaldi: Stabat Mater

8. Maîtrise des Petits Chanteurs de Saint-Christophe de Javel, Hervé Lamy, Frédéric Bourreau, Lionel Sow, Schütz: Matthäus-Passion

I’m including this recording separately because it’s quite different in tone and atmosphere to the Dresden Kammerchor recordings, which are generally with a mixed vocal choir and instrumental accompaniment, whereas this a capella, male-voiced version has a haunting intensity to it.

Also recommended: Dresden Kreutzchor, Schütz: Musicalische Exequien (see post)

9. Pablo Casals, Bach: Cello Suites

Another book (of three total) I read about Bach this year was Eric Siblin’s The Cello Suites, weaving together the biography of Bach with that of Casals, a Catalan cellist who basically brought the pieces to our modern attention. There are many more recent recordings, with better sound quality and possibly more ‘authentic’ styles of interpretation, but I still find these the most expressive. Possibly its the sense of history: recorded in exile in the late 1930s, like a musical Darkness at Noon:

“Casals began recording the Cello Suites on a desperate note. With civil war raging in Spain, he couldn’t play in his homeland anymore; he refused to perform in Russia under the Bolsheviks; and he had boycotted Germany since Hitler came to power and Italy once fascism took over.”

Also recommended: Siblin recommends more recent recordings by Pieter Wispelwey and Stephen Isserlis; there’s also a viola transcription by Kim Kashkashian reviewed in Pitchfork from this year

[solplparty]

[공연/페스티벌] Pieter Wispelwey(피터 비스펠베이) - 가을을 타는 당신을 위한 슈베르트 선율 https://music.bugs.co.kr/specialView/concert/6FUY8UL7FOIEUOMWTZRP?&wl_ref=list_sp_03_h

[gasparodasalo]

Frédéric Chopin (1810-49) / Karl Davydov (1838-89) - Waltz for Cello and Piano in c-sharp minor, Op. 64 No. 2. Arranged by Karl Davydov. Performed by Pieter Wispelwey, cello, and Paolo Giacometti, 1837 Érard piano, on period instruments.

[thomasonab]

10.06. Zeneakadémia

Ysaÿe:2. (a-moll) szonáta szóló hegedűre, op. 27/2

Mendelssohn:c-moll zongoratrió, op. 66

Mozart:Duó hegedűre és brácsára, K. 423

Chausson:A-dúr zongoranégyes, op. 30

Baráti Kristóf (hegedű);

Maxim Rysanov (brácsa);

Pieter Wispelwey (cselló);

Enrico Pace (zongora)

[sytycdinternational]

SO YOU THINK YOU CAN DANCE SEASON 11 // Jacque LeWarne / 18 / Ballet / «Nocturne in C Sharp Minor, (Op. Posth.): Lento» by Dejan Lazic & Pieter Wispelwey / Solo / Top 8 Week

[ringelgoslinga]

Rubriek NRC Sprekend | 12 maart 2011 - 7 juli 2013 | Foto’s Ringel Goslinga.

1. Dana Lixenberg 2. Jack Wouterse 3. Kader Abdolah 4. Karina Smulders 5. Ruben van Zwieten 6. Sahar Hibrahim Ghel 7. Anneke Stehouwer 8. Atilay Uslu 9. Ruth Jacott 10. Wubbo Ockels 11. Marloes Coenen 12. Heleen Dupuis 13. Bastiaan Ragas 14. Reinbert de Leeuw 15. Ahu Sahin 16. Jacob Derwig 17. Michael Boogerd 18. Ramon Beuk 19. Thekla Reuten 20. Frank Bosman 21. Hans Klok 22. Agnes Jongerius 23. Ellen ten Damme 24. Hoda Hamdaoui 25. Churandy Martina 26. Peter Pontiac 27. Roosmarijn Reijmer 28. Tom Barman 29. Dorine Hermans 30. Cyrille Fijnaut 31. Jan Rot 32. Kees Zegers 33. Klaas Hendrikse 34. Arjan Ederveen 35. Erik ‘Spinvis’ de Jong 36. Jan Terlouw 37. Mirjam van den Broeke 38. Peter Koelewijn 39. Sjaak Sies 40. Maurice van den Bosch 41. Ted Langenbach 42. Henk van der Meijden 43. Nasrdin Dchar 44. Candy Dulfer 45. Liesbeth List 46. Inez Weski 47. Gabriël van den Brink 48. Ted van Lieshout 49. Yes-R 50. Marjan Olfers 51. Marja van Hall 52. Ali Eddaoudi 53. Liesbeth Spies 54. André van Es 55. Emrah Genco 56. Colin Benders (alias Kyteman) 57. Roel van Duijn 58. Ariane Schluter 59. Monsif Bakkali 60. Willem Schinkel 61. Gers Pardoel 62. Barry Hay 63. Marc Dullaert 64. Xandra Schutte 65. Linde Gonggrijp 66. Fedja van Huȇt 67. Sander de Rouwe 68. Eveline Crone 69. Joop van Riessen 70. Nicole van Vessum 71. Ad van Liempt 72. Piet Gerbrandy 73. Liza Ferschtman 74. Jehanne Hulsman 75. Eveline Aendekerk 76. Eva Jinek 77. Mark Rietman 78. Tilly Hermans 79. Marcia Luyten 80. Ger van Elk 81. Pieter Wispelwey 82. Linda van Laake 83. Kraantje Pappie 84. Ed van Thijn 85. Maria Kraakman 86. Russell Shorto 87. Mirjam Blécourt 88. Aziz Bekkaoui 89. Karsu Dönmez 90. Jildou van der Bijl 91. Eric de Vroedt 92. Ton Koopman 93. Veerle Baetens 94. Mike Boddé & Thomas van Luyn 95. Joop van Zijl 96. Fatima Elatik 97. Johan Fretz 98. Guido van Driel 99. Jan Marijnissen 100. Huub van der Lubbe 101. Vic van de Reijt 102. Jan Derksen 103. Tamar van den Dop 104. Cleo Campert 105. Bas Bloem 106. Igone de Jongh 107. Wanda de Kanter 108. Karin van den Broeke 109. Chris Lorraine 110. Petra Laseur 111. Saskia van der Lee 112. Wende Snijders 113. Lee Towers 114. Dimitri Verhulst 115. Michel van der Aa 116. Helmut Lotti 117. Michaëlla Krajicek 118. Caroline Anne Freiin de Westenholz 119. Izaline Calister 120. Sjaak Swart 121. Anouk Hoogendijk

[martimcribeiro01]

Sinfônica homenageia ‘O Guarani’, de Carlos Gomes

A Orquestra Sinfônica do Teatro Nacional Claudio Santoro (OSTNCS) fará um concerto na terça-feira (3) que rende especial homenagem a Carlos Gomes (1836-1896), autor da ópera O Guarani, que abre a Voz do Brasil, programa radiofônico criado na era Vargas que está no ar desde 1935.

“A abertura da Voz com O Guarani fez dela um dos nossos hinos nacionais”, compara o regente titular da Sinfônica, Cláudio Cohen.  “Carlos Gomes é o nosso compositor querido, e o concerto celebra os 150 anos da estreia da ópera no Teatro Scala de Milão em 19 de março de 1870”, emenda Leonardo David, titular da Orquestra Camerata do Sesi-ES –  maestro convidado que estará à frente concerto.

Leonardo David, regente convidado

David se desdobra em elogios para a orquestra do Teatro Nacional, que conheceu em outubro do ano passado, quando ensaiou com os músicos para a apresentação de Isaac Karabtchevsky na capital da República. “São músicos muito competentes, que fazem música com saber da mais alta excelência”. Cohen retribui: “O maestro Leonardo é um talento da nova geração de regentes”.

O programa inclui também uma peça do inglês Edward Elgar (1857-1934), Concerto para violoncelo, Opus 85, lançada em 1919. “Elgar é genial e exige muita técnica tanto para o violoncelo como para o acompanhamento da orquestra e regência”, afirma o maestro convidado.

Solista Marina Martins, solista da peça de Elgar, é considerada por David “nosso futuro no violoncelo”, instrumento que lhe rendeu premiação em concurso da Orquestra Sinfônica do Estado de São Paulo (Osesp) em 2018.

Marina Martins: talento | Foto: Osesp/Divulgação

Nascida na Nova Zelândia de pais brasileiros, começou a praticar com três anos de idade e depois continuou seus estudos nos Estados Unidos, Inglaterra e Alemanha, onde é aluna de Pieter Wispelwey na prestigiosa Robert Schumann Musikhochschule” em Düsseldorf, na Alemanha.

Marina, que vem a Brasília especialmente para fazer o solo, refere-se assim à música composta ainda durante a Primeira Guerra, cujos canhões o autor podia escutar: “O concerto para violoncelo de Edward Elgar é um dos pilares do repertório para o instrumento. Carrega uma poderosa, melancólica e avassaladora intensidade emocional, própria de momentos de amargura, desespero e dúvidas sobre o futuro. Essa carga é um desafio para o intérprete. Eu adoro esse concerto de Elgar por explorar o virtuosismo, o lirismo e a característica do instrumento de se aproximar tão bem da voz humana”.

Tchaikovski Fechando a noite, a Sinfônica ainda trará o gênio do período romântico, Piotr Ilitch Tchaikovski (1840-1893), com a Sinfonia nº 1. “Celebramos os 180 anos do nascimento do autor. É importante a gente se lembrar disso ao mostrar a sua Sinfonia nº 1, Primavera”, diz Cohen.

“Será um prazer fazer este concerto em Brasília com uma das principais orquestras do país”, finaliza David a título de convite para o público fiel da OSTNCS.

Serviço

Carlos Gomes, Abertura da Ópera O Guarani

E.Elgar, Cello concerto

Solista – Marina Martins

Tchaikovski, Sinfonia nº 1

Maestro convidado, Leonardo David

Cine Brasília, Entrequadra Sul 106/107

Entrada franca por ordem de chegada até a lotação do espaço. Os portões são abertos às 19:15 para idosos e pessoas com deficiência e às 19:30 para o público em geral. O concerto começa às 20h.

Dúvidas e informações: 2017-4030

  Sinfônica homenageia ‘O Guarani’, de Carlos Gomes publicado primeiro em https://www.agenciabrasilia.df.gov.br

[klara-radio]

tracklist:

Katia & Marielle Labèque: Hymn to a Great City (Comp. Arvo Pärt) - Minimalist Dream House - Kml Recordings KML2117 - [0:03:15]

Ensemble Leones: Sei gelobt, du Baum (Comp. Arvo Pärt; Viivi Luik) - Les fantaisies de Josquin - Christophorus CHR77348 - [0:02:55]

Andrey Dergatchev: Piano (Comp. Andrey Dergatchev) - Selected Signs Vol. VI - ECM 2353 - [0:02:59]

Zapp! String Quartet: Arvo en Jeff (Comp. Oene Van Geel ) - Chamber Grooves - Trytone TT021 - [0:07:47]

Jeff Buckley: Corpus Christi Carol (Comp. Benjamin Britten) - Grace - Columbia ?475928 2 - [0:02:57]

Clare Wilkinson; Sofie Vanden Eynde: Three Songs of Sighs and Tears - 1. Sappho (Comp. Thomas Smetryns; Christina Rossetti) - Divine Madness - Cypres CYP1670 - [0:02:58]

Clare Wilkinson; Sofie Vanden Eynde; Moneim Adwan: Three Songs of Sighs and Tears - 2. Tears, Idle Tears (Comp. Thomas Smetryns; Christina Rossetti) - Divine Madness - Cypres CYP1670 - [0:03:51]

Clare Wilkinson; Sofie Vanden Eynde; Moneim Adwan: Three Songs of Sighs and Tears - 3. Song (Comp. Thomas Smetryns; Christina Rossetti) - Divine Madness - Cypres CYP1670 - [0:03:44]

Jordi Savall: Harke, Harke (Comp. Tobias Hume) - Tobias Hume: Musicall Humors - Alia Vox AV9837 - [0:02:01]

Pieter Wispelwey: Cello Suite nr. 1, Op. 72 - Marcia (Comp. Benjamin Britten) - Britten: Cello Suites - Channel Classics 17198 - [0:04:36]

Peter Pears; Benjamin Britten: London Symphony Orchestra & Chorus: War Requiem, Op. 66 - Agnus Dei (Comp. Benjamin Britten) - Britten: War Requiem - Decca 478 3165 - [0:03:45]

Valdine Anderson; Witold Lutoslawski: New Music Concerts: Chantefleurs et Chantefables - No. 1. La belle-de-nuit (Comp. Witold Lutoslawski; Robert Desnos) - Lutoslawski's Last Concert - Naxos 8.572450 - [0:02:22]

Bernard Haitink: Royal Concertgebouw Orchestra: Orpheus, Ballet in three scenes (1947) - Scene I (Comp. Igor Stravinsky) - Live The Radio Recordings (Disc 10, Stravinsky) - NM Classics 97014 - [0:08:57]

Dawn Upshaw; The London Sinfonietta; David Zinman: Symphony No.3 Song No 1 -Lento, sostenuto tranquillo ma cantabile (Comp. Henryk Górecki) - Górecki. Symphonie No. 3, op. 36 - Nonesuch 7559-79282-2 - [0:26:47]

Mozdzer Danielsson Fresco: Yearning for a Nest (Comp. Leszek Mozdzer) - Polska - ACT9557-2 - [0:02:38]

Rechenzentrum: Vlotho Exter (Comp. Rechenzentrum) - The John Peel Session - Kitty-Yo ?KY01047CD - [0:03:28]

Kuniko Kato: Cantus in memory of Benjamin Britten (bewerking voor marimba (Comp. Arvo Pärt) - Cantus - Linn Records CKD 432 - [0:06:28]

Pieter Wispelwey: Cello Suite nr. 2, Op. 80 - Andante Lento (Comp. Benjamin Britten) - Britten: Cello Suites - Channel Classics 17198 - [0:05:57]

Ernst Reijseger: Wake (Comp. Ernst Reijseger) - Tell Me Everything - Winter & Winter 9101512 - [0:06:50]

LABtrio: Kapotte Sauffage - De Loodgieter (Comp. Lander Gyselinck; Bram De Looze) - Fluxus - Outnote Records OTN 020 - [0:05:43]

Susanna And The Magical Orchestra: Jolene (Comp. Dolly Parton) - List Of Lights And Buoys - Rune Grammofon RCD 2034 - [0:03:53]

Frode Haltli; Arve Henriksen, Maja Solveig Kjelstrup Ratkje, Garth Knox: Psalm (Comp. Frode Haltli ) - Selected Signs Vol. VIII - ECM 2355 - [0:05:15]

[maiguelon]

Just added to my tracks on Spotify "Sonata in A Major Op. 69: II. Scherzo: Allegro molto" by Ludwig van Beethoven, Pieter Wispelwey, Dejan Lazić https://ift.tt/2N9gjZ8