Chopin’s musical ideas are perfectly embedded in his pianistic idiom yet also can sound well on other instruments–if you’ve got the right players and effective arrangements. Time and again, cellist Pieter Wispelwey’s eloquent poise underscores the bel canto sensibility behind Chopin’s lyrical inspirations, from the reflective minor-key Op. 28 Preludes (Nos. 2, 4, & 6) and A minor Mazurka to the Op. 25 No. 7 Etude’s elaborate arabesques. At the same time, Wispelwey tosses off the difficult runs in the Op. 18, Op. 34 No. 1, and Op. 42 Waltzes more easily than most pianists do in the originals. He transforms the G major Prelude’s taxing left-hand piano part into a hushed, spooky etude and offers nimble, streamlined renditions of two Chopin compositions originally written for cello: the early, rather glittery Polonaise Brilliante, and the Scherzo from the Cello Sonata (the most underrated of Chopin’s later masterpieces). Dejan Lazic’s crisp and assertive accompaniments couldn’t be more perfectly gauged. One question: why is this disc entitled Cello Waltzes Volume 1 when only four out of the 18 selections are actually waltzes? At any rate, let’s hope Volume 2 will prove every bit as irresistible and fun to listen to as this one. [12/30/2001]
