How good is Pieter Wispelwey and Dejan Lazic's 2005 recording of Beethoven's complete works for cello and piano? Easily as good as it gets, as good as the Casals/Serkin, the Fournier/Kempff, and the Maisky/Argerich. Wispelwey has a subtle tone, a full sound, and a flawless technique coupled with a keen musical intelligence and a wonderfully soulful expressivity. Nothing in Beethoven's music is beyond him, not the technical difficulties, not the emotional depths, not the spiritual heights, not even the side-splitting humor. ...
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How good is Pieter Wispelwey and Dejan Lazic's 2005 recording of Beethoven's complete works for cello and piano? Easily as good as it gets, as good as the Casals/Serkin, the Fournier/Kempff, and the Maisky/Argerich. Wispelwey has a subtle tone, a full sound, and a flawless technique coupled with a keen musical intelligence and a wonderfully soulful expressivity. Nothing in Beethoven's music is beyond him, not the technical difficulties, not the emotional depths, not the spiritual heights, not even the side-splitting humor. Wispelwey tears into the central Allegro molto piú tosto presto from the early G minor Sonata, rips into the Scherzo of the central A major Sonata, probes the depths of the Adagio con molto sentimento d'affeto in the late D major Sonata, and laughs all the way to the final double bar in the Ein Mädchen oder Weibchen Variations. With Dejan Lazic's virtuosic but circumspect accompaniment, Wispelwey's performances should be heard by anyone who loves Beethoven's cello works or simply...
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