Pieter Wispelwey & The Bremen Chambert Orchestra – Saint-Saens, Tchaikovsky, Bruch (2001) [MCH SACD ISO + DSF DSD64 + Hi-Res FLAC]

Pieter Wispelwey & The Bremen Chambert Orchestra – Saint-Saens, Tchaikovsky, Bruch (2001) [MCH SACD ISO + DSF DSD64 + Hi-Res FLAC]
SACD Rip | SACD ISO | DST64 2.0 & 5.0 > 1-bit/2.8224 MHz | 54:46 minutes | Basic Scans+PDF Booklet | 3,23 GB
or DSD64 2.0 Stereo (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | Basic Scans+PDF Booklet | 2,16 GB
or FLAC Stereo (converted with foobar2000 to tracks) 24bit/96 kHz | Basic Scans+PDF Booklet | 1,13 GB
DSD Recording | Features Stereo and Multichannel Surround Sound | Label: Channel Classics # CCS SA 16501

These are fresh, lithe and lean studio performances of old favourites, given by a fine Dutch cellist with an alert conductor-less Bremen chamber orchestra. Most arresting is the Saint-Saëns, freed from the overblown dramatic intensity familiar from performances by some ‘big’ cello virtuosi. The outer movements, are separated by an archaic ‘escaped minuet’, to quote Wispelwey’s intelligent notes; the finale is an expanded version of the first. Balance is good, the cello a little more forward than it would generally be in concert. Good impressions are maintained in all the other items, the rococo variations light as befits a tribute to Mozart, the Bruch melody soulful and involving.This was the first commercially produced SACD hybrid super audio on the market. In June of 2000, I sat in one room recording in pcm and the research team of Philips were in the room next door taking my analogue signal directly from my mixer. I first released my pcm version in the fall of 2000. The Pyramix at that time was very primitive but thanks to the Phliips team who worked around the clock to produce the software, we were able to get this DSD version out at the beginning of 2001.
– Jared Sacks

I still find it striking that when we are asked for a typically romantic cello concerto, we think immediately of Dvorok, or even of Elgar, even though these works were composed respectively in 1895 and 1919, while the truly romantic cello concerti are actually those by Schumann (1850), Saint-Saitns (1870), and Tchaikovsky (1876). It would appear, then, that there are considerable misapprehensions about the nature of romanticism and the 19th century. In any case, the latter three works do not present the cello as a primarily autumnal and nostalgic instrument Singing yes, expressive, yes, but also agile and flexible. Moreover, the soft spot that I have for these pieces lies in the intriguing counterpoint of passion and ironic elegance, enthusiasm and civilization, a style in which, on one hand, aristocracy and on the other, sensuality and passion, play into each other’s hands. Under the surface, feelings of fear, regret, protest and impossible longing play their roles, but the balance between intoxication and discipline predominates. A simple example of that balance can be seen in the opening 8 measures of the famous theme from Tchaikovsky’s Rococo Variations. A sort of formal decorum alternates every 2 measures with emotionalism, the other supporting pillar of the composition. The symbiosis in a nutshell. A good example of the deceptiveness of outward appearances is the close of the central movement of the Saint-Saltns. Unexpectedly, diverse elements from the minuet theme take on new and ultimately dark and foreboding forms, and suddenly we are engulfed in psychological quicksand. Quickly the wrinkles are ironed out again, but that moment of magic will remain in the listener’s unconscious. We hope that you will excuse us for adding two unmistakably late-romantic works to SaintSans and the ‘Rococo and invite you to see the combination of styles in the context of counterpoint and polemic contrast Moreover, a bit of cellistic nostalgia never hurts.
– Pieter Wispelwey

Tracklist:

01. Saint-Saëns: Cello Concerto No. 1 in A minor Op.33 – Allegro non troppo
02. Saint-Saëns: Cello Concerto No. 1 in A minor Op.33 – Allegretto con moto
03. Saint-Saëns: Cello Concerto No. 1 in A minor Op.33 – Allegro non troppo
04. Tchaikovsky: Andante Cantabile Op. 11
05. Tchaikovsky: Variations On A Rococo Theme Op.33 – Theme
06. Tchaikovsky: Variations On A Rococo Theme Op.33 – Variation 1
07. Tchaikovsky: Variations On A Rococo Theme Op.33 – Variation 2
08. Tchaikovsky: Variations On A Rococo Theme Op.33 – Variation 3
09. Tchaikovsky: Variations On A Rococo Theme Op.33 – Variation 4
10. Tchaikovsky: Variations On A Rococo Theme Op.33 – Variation 5
11. Tchaikovsky: Variations On A Rococo Theme Op.33 – Variation 6
12. Tchaikovsky: Variations On A Rococo Theme Op.33 – Variation 7
13. Bruch: Kol Nidrei Op.47

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