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In Memoriam I

In Memoriam I

Pieter Wispelwey & Paolo Giacometti

Cat No:

EPRC 0050

Release date:

2/2/23

Barcode:

0608917723724

"In March 2022, half a year before my sixtieth birthday, my family and I suffered a massive, tragic
blow: the sudden death of my sixteen year old son Dorian. While still shaken to my foundations, it
seems to me that the only way forward is to allow music to play a constructive and healing role. To
this end, I’ve recorded Bach’s Fifth Suite and Kodaly’s Solo Sonata which will form the ‘Scordatura
Album’ for an October In Memoriam II release.

Because Schubert played such a big role in my beloved Dorian’s short life as a singer and music lover, this first In Memoriam consists of a rerelease of the three greatest Schubert Violin-Piano pieces and the wonderful Trockne Blumen Variations. I can think of no better way to honour my boy."


This is the text Pieter Wispelwey wrote to accompany this very special release. The disc includes previously released material, drawn from the series of six volumes devoted to transcription of music by Schubert and Brahms. Besides the Trockne Blumen mentioned above, it contains the Sonata D.574, the Rondo D.895 and the Fantasy D.934. To accompany Pieter on piano is his faithful musical companion Paolo Giacometti.

Tracklist

1. Introduction and Variations on Trockne Blumen, Op. 160, D. 802
2. Sonata in A Major, D. 574 Op. post. 162
3. Rondo in B Minor, Op. 70, D. 895
4. Fantasy in C for Cello and Piano, D. 934

F. Schubert
Reviews

Classica

"Quel musicien autre que lui pourrait rendre la psychologie de Schubert avec plus de subtilité et de nuances, laissant toujours transparaître le sourire derrière les larmes, la mélancolie derrière la joie apparente ? Il faut écouter l’Andante molto en ouverture de la Fantaisie D. 934, dans lequel le grain crépusculaire de l’archet de Pieter Wispelwey, infini de ligne, empli d’ombres et de doutes, vient se lover au cœur du piano moelleux et perlé de Paolo Giacometti."

Diapason

"Les Variations D 802 (1824) se fondent sur le dix-huitième lied de La Belle Meunière ; cette complainte devient prétexte à un exercice de haute virtuosité. L’arrangement pour violoncelle en change le caractère mais conserve sa progression impli- cite si particulière, chacune des variations semblant surpasser la pré- cédente en variété et en invention."

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