[The Mendelssohn is] a wonderfully uplifting outburst of high spirits, generously and elegantly formed. Wispelwey always brings such a range of texture to his articulation and such airy luminescence to lyric passages that he is a well-nigh ideal exponent, matched by the ultra-sensitive Paolo Giacometti

That Paolo Giacometti has opted for a twangy fortepiano of the period may not add to the beauty of the performance but it makes for a better balance between the instruments than if a modern Steinway was used. It also allows for the pianist to articulate perfectly in really fast speeds. The clarity and precision are also remarkable.

it's the two sonatas that show them both at their best – the Mendelssohn is dashingly well played, set out off like a rocket in the opening movement and only pausing for breath in the third-movement Adagio, while in the Chopin it's Giacometti who frequently takes the lead, though the interweaving of cello and piano is beautifully engineered by both players.

[Giacometti] and Pieter Wispelwey give Mendelssohn’s D major Cello Sonata Op 58 with fluency and panache. Between that sonata and an eloquently voiced one of Chopin’s in G minor, Wispelwey shows his mettle in some Chopin waltz arrangements.