Burning River Brass DaPonte String Quartet Luna Negra Dance Theater Del Sol String QuartetThomas Gallant Pieter Wispelwey Daedalus String Quartet Alexander Melnikov Stephen Kent

Great Performances

Sponsored in part by the Anthony E. Perrotti Great Performances Endowment

Pieter Wispelwey

Pieter was born in Haarlem in the Netherlands 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 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 strig 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.  Having been encouraged to listen to as much music as possible he developed a love of Renaissance music (Italian and English madrigalists) and German Lied.  These genres 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 J. S. Bach to Elliott Carter drawing on a pallet of sounds and colors available from his range of instruments, string set-ups and bows.  Recitals have always played a major part in Pieter’s concert diary and he has appeared all over the world..  As a recitalist with piano, he has all the main repertoire at his disposal which is always ready for performance.

Pieter considers himself extremely lucky that, despite the demise of the classical recording industry, he is in a position, thanks to the support of his record label Channel Classics, to be able to record his own choice of repertoire with his own choice of artists and orchestras.  This freedom has resulted in the conception of CD’s with unusually imaginative repertoire.  But maybe what he appreciates most about Channel Classics is the fact that he is allowed to complete hands-on control over the producing and, more importantly, the editing and post-production processes. His involvement even stretching to writing texts for the jackets