{"id":20929,"date":"2022-10-27T15:30:46","date_gmt":"2022-10-27T13:30:46","guid":{"rendered":"https:\/\/www.classical-music.com\/?p=174469"},"modified":"2022-10-27T15:51:10","modified_gmt":"2022-10-27T13:51:10","slug":"brittens-cello-suite-no-1-a-guide-to-brittens-cello-masterpiece-and-its-best-recordings","status":"publish","type":"rss_feed","link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/rss_feed\/brittens-cello-suite-no-1-a-guide-to-brittens-cello-masterpiece-and-its-best-recordings\/","title":{"rendered":"Britten\u2019s Cello Suite No. 1: a guide to Britten\u2019s cello masterpiece and its best recordings"},"content":{"rendered":"

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By BBC Music Magazine\n \t\t<\/p>

Published: Thursday, 27 October 2022 at 12:00 am<\/p>

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Written in 1964, \u201967 and \u201971,\u00a0 <\/span>Britten\u2019s three Suites for Solo Cello, amongst the finest works for the instrument, owe their existence to one of the most charismatic and masterful cellists \u2013 Mstislav Rostropovich.<\/span><\/strong><\/p>\n\n<h2>How did Rostropovich inspire Britten\u2019s three Suites for Solo Cello?<\/strong><\/span><\/h2>\nIn 1960, Rostropovich was performing the UK premiere of Shostakovich\u2019s First Cello Concerto in London\u2019s Royal Festival Hall, watched from a box by the Soviet composer himself. Seated next to Shostakovich was Britten, utterly mesmerised by the giant musical personality on stage. <\/span><\/p>\nAfter the concert, Shostakovich told Rostropovich that his ribs were aching: \u2018Every time Britten admired something in your playing, he <\/span>would poke me in the ribs and say \u201cisn\u2019t that <\/span>simply marvellous?\u201d I am now suffering.\u2019<\/span><\/p>\nBritten always wrote with specific performers in mind, and Rostropovich inspired him to write his Cello Sonata and Cello Symphony as well as the Suites. <\/span><\/p>\nIn his speech on receiving the Aspen Award in 1964, the composer said, \u2018Rostropovich was such a gloriously uninhibited musician, with that enormous feeling of generosity you get from the best Russian players. I immediately realised this was a new way to play the cello, in fact a new vital way of playing music.\u2019\u00a0<\/span><\/span><\/p>\nThe story behind the Suites\u2019 coming into being is amusingly quirky. Rostropovich had never met a real princess, and as he and Britten were scheduled to spend a night at Harewood House \u2013 home of the Princess Royal \u2013 he decided that he must curtsy. Rostropovich had concocted some bizarre gymnastic movement (his \u2018kliksen\u2019) which he was practising. <\/span><\/p>\nBritten was utterly alarmed at this spectacle. Over lunch <\/span>Rostropovich agreed to quell his acrobatics, <\/span>\u2018on one condition: some new works for the cello in exchange for me giving up my kliksen<\/i>.\u2019 The contract was drawn up on a printed menu. As Rostropovich recalls, Britten complained afterwards, muttering \u2018\u2026damned blackmailer\u2019.\u00a0<\/span><\/span><\/p>\n<h2>The music of Britten\u2019s Cello Suite No. 1<\/h2>\nThree new Suites duly arrived, the First of which, written in November and December 1964, received its UK premiere at the Aldeburgh Festival the following <\/span>year. In this work, Britten moulds new with <\/span>old \u2013 a time honoured modus operandi<\/i>. The traditional strands are structural, with the hymn-like quality of four Cantos serving as a binding ritornello<\/i> (recurring theme) within the work\u2019s nine movements. <\/span><\/p>\nInevitably, JS\u00a0Bach is a powerful influence: the \u2018Canto Primo\u2019, with pauses placed at the end of each phrase, recalls the German composer\u2019s chorales, and the subject of the ensuing \u2018Fuga\u2019 echoes the First Fugue from Book 1 of JSB\u2019s <a href=\""https:\/\/www.classical-music.com\/features\/recordings\/best-recordings-js-bachs-well-tempered-clavier\/"\">Well-Tempered Clavier<\/i><\/a><\/strong>. This is one <\/span>of the oldest and most tightly organised ways of developing <\/span>material and, like Bach, Britten constructs the entire movement from the first <\/span>bars. He also uses a technique <\/span>from French lutenists called \u2018stile bris\u00e9\u2019, where one line conveys several parts. In this way, patterns abound throughout, although much of the time invisible under the surface.<\/span><\/p>\nBritten reinvents virtuosity, eschewing the flurry of conventional display. For example, in the \u2018Canto Primo\u2019 he utilises tricky double-stops which require careful voicing for the melodic line to appear. In \u2018Serenata\u2019 \u2013 a movement which is entirely plucked \u2013 the figuration emulates a guitar with left-hand pizzicato punching into the texture, recalling Pierrot playing with the moon: a nod to Debussy\u2019s Cello Sonata<\/span> perhaps? Natural harmonics are explored in \u2018Marcia\u2019, where a <\/span>bugle-like call alternates <\/span>with a drummed rhythm played with the wooden back of the bow (col legno<\/i>) \u2013 a gritty style recalling Stravinsky\u2019s The Soldier\u2019s Tale<\/i>.\u00a0<\/span><\/span><\/p>\nIn \u2018Bordone\u2019, the D drone heard throughout the movement might seem simple, but it requires the performer to alternate seamlessly an open D string and a stopped D drone, whilst at the same time delivering the melodic line. Halfway through, the mood lightens and a lilting melody dominates \u2013 maybe a veiled reference to the first movement of Elgar\u2019s Cello Concerto? A more obvious virtuosity characterises the following Moto perpetuo<\/i> organised around semitones, which boasts mesmerisingly rapid passage work that ultimately leads to a blisteringly intense delivery of the \u2018Canto Quattro\u2019.<\/span><\/p>\nBut it is the emotional range \u2013 Schubertian in depth \u2013 that defines the Suite. The Cantos are by turns anguished, reflective, menacing and fervent. A tremendously powerful expressive line features in the \u2018Lamento\u2019 \u2013 the instruction piangendo<\/i> means crying or plaintive, as the melody droops, followed by its inversion. The fluid tonality, exploring the conflict between E and E flat, is incredibly tense, reaching a fragile repose that melts into the subdued \u2018Canto Secondo\u2019. Yet there are also hints of humour, heard in the second subject of the \u2018Fuga\u2019, and in the \u2018Serenata\u2019.<\/span><\/p>\nEvery note in the score is carefully considered. But that is just the shell of the <\/span>house. Inside are colourful riches of interior <\/span>design and poetic nuances to be explored. The performer has to go beyond the notes and find a world of intense emotions, be it <\/span>reflective or of towering burnished passion.\u00a0<\/span><\/span><\/p>\n<h2>The best recordings of Britten\u2019s Three Suites for Solo Cello<\/span><\/strong><\/h2>\n<h3 class=\""p1"\">Pieter Wispelwey\u00a0<\/span><\/strong><\/h3>\nChannel Classics CCS SA 17102<\/i><\/span><\/strong><\/p>\nRostropovich\u2019s legacy lives on not only in his recordings, but also in his detailed fingerings and editing of Britten\u2019s score. When speaking about works written for him, he once said that he would be delighted if someone else played them an hour later. Clearly, he recognised this creative musical legacy, but was aware that to develop, it would need to accommodate new approaches \u2013 each score is a road map which a performer has to interpret.\u00a0<\/span><\/span><\/p>\nWhen teaching the Britten to his pupils, Rostropovich said they had to find the emotional core, as it was essential to feel the poetic nature behind the composition. He also laid great emphasis on finding compelling transitions between moods and tempos \u2013 one of the major challenges in the Suites is that movements often lead into each other. <\/span><\/p>\nThese interpretative issues and solutions are what distinguish the finest performances. Both in terms of emotional intensity and in finding the poetry within the score, Pieter Wispelwey\u2019s 2002 recording proves utterly exceptional \u2013 and that is within a very distinguished roster of interpretations.\u00a0<\/span><\/span><\/p>\nThe testing \u2018Canto Primo\u2019 is delivered with tremendous power, but the pauses never allow the intensity to diminish. The voicing with the double stops is eloquent and the dynamic range and articulation compelling. Intellect and artistry are in harness in the \u2018Fuga\u2019, where Wispelwey etches the contrapuntal lines with clarity whilst allowing fantasy in the semiquaver section. After the baroque-style cadences, the opening subject returns in fiery fury and receives a scorching rendition. As the movement progresses, the fervour recedes, only to vanish before our ears in the closing harmonics.\u00a0<\/span><\/span><\/p>\nWispelwey\u2019s depiction of the \u2018Lamento\u2019 is wondrously poignant, connecting the tonally challenged quavers, but magically creating a sense of space. A feeling of exotic excitement infuses his \u2018Serenata\u2019 as the guitar-like figuration springs rhythmic surprises. <\/span><\/p>\nA mesmerising Spanish intensity remains in the \u2018Marcia\u2019 middle section \u2013 again characterised by anguished passion before the final harmonics lead into the \u2018Canto Terzo\u2019. Here the double stops are flawlessly voiced. The folk-like drone of the \u2018Bordone\u2019 with the punctuating left-hand pizzicatos is seamlessly performed before a charged Moto perpetuo<\/i> leaves you holding onto the edge of your seat. How perfectly \u2018Canto Quattro\u2019 assumes its place in the musical invention, and with what emotional heat! This is simply breath-taking playing.<\/span><\/p>\n<div class=\""monetizer__price-comparison-container"\" data-position=\""adhoc"\" hidden=\"\"> <h5 class=\""monetizer__price-comparison-title\" monetizer-title=\"\" style=\""background-color:\" color:=\"\"\/> <div id=\""monetizer__deals"\" data-type=\""price-comparison"\" data-config=\"'{"shopId":"1378","market":"gbp_en","template":"default","searchKeywords":"https:\\\/\\\/www.amazon.co.uk\\\/Britten-Three-Cello-Suites-Hybrid\\\/dp\\\/B000063TD2","excludeKeywords":"","geolocation":true,"limit":"4","priceRange":"11.2-20.8","sid":"term-classicalmusic-6-pcs-txt-pos"}'\"\/> <div class=\""monetizer__price-comparison-explanatory-text\" body-copy-extra-small=\"\" editor-content=\"\"\/><\/div> M<\/i><\/span>stislav Rostropovich\u00a0<\/i><\/span><\/strong><\/p>\nDecca 421 8592<\/i><\/span><\/strong><\/p>\nRostropovich\u2019s first recording, a live performance in Russia, is generally quicker and less comfortable than his second version which, recorded by Decca at Snape Maltings in 1968, offers the stamp of the composer. <\/span><\/p>\nHere you sense history in the making, and this has both more depth in terms of expression and also space. Inevitably, having lived with the Suite, it now seems completely under his skin. Rostropovich\u2019s \u2018Serenata\u2019 is especially sizzling in dramatic impact and the Moto perpetuo<\/i> a real tour de force<\/i>.\u00a0<\/span><\/p>\n<div class=\""monetizer__price-comparison-container"\" data-position=\""adhoc"\" hidden=\"\"> <h5 class=\""monetizer__price-comparison-title\" monetizer-title=\"\" style=\""background-color:\" color:=\"\"\/> <div id=\""monetizer__deals"\" data-type=\""price-comparison"\" data-config=\"'{"shopId":"1378","market":"gbp_en","template":"default","searchKeywords":"https:\\\/\\\/www.amazon.co.uk\\\/music\\\/player\\\/albums\\\/B004HPF1C6","excludeKeywords":"","geolocation":true,"limit":"4","priceRange":"0.7-1.3","sid":"term-classicalmusic-6-pcs-txt-pos"}'\"\/> <div class=\""monetizer__price-comparison-explanatory-text\" body-copy-extra-small=\"\" editor-content=\"\"\/><\/div> <h3 class=\""p2"\">No\u00e9mi Boutin \u00a0<\/span><\/i><\/span><\/h3>\nNoMadMusic NMM039D<\/i><\/span><\/strong><\/p>\nBoutin goes beyond the notes in this 2017 recording, bringing exquisite fantasy alongside stunning virtuosity to her interpretation. The opening \u2018Canto Primo\u2019 is arresting, and the dynamic choreography and emotional direction are persuasive. <\/span><\/p>\nHer \u2018Fuga\u2019 is lucid, while the \u2018Lamento\u2019 is tender and eloquent. A certain whimsical flavour defines the \u2018Serenata\u2019, leading into strongly articulated \u2018Marcia\u2019. A reflective emotion defines the second and third Canto in contrast to the Moto perpetuo<\/i>, <\/span>which storms by with tangible electricity <\/span>and sense of fervour in the closing \u2018Canto Quattro\u2019.\u00a0<\/span><\/p>\n<div class=\""monetizer__price-comparison-container"\" data-position=\""adhoc"\" hidden=\"\"> <h5 class=\""monetizer__price-comparison-title\" monetizer-title=\"\" style=\""background-color:\" color:=\"\"\/> <div id=\""monetizer__deals"\" data-type=\""price-comparison"\" data-config=\"'{"shopId":"1378","market":"gbp_en","template":"default","searchKeywords":"https:\\\/\\\/www.amazon.co.uk\\\/music\\\/player\\\/albums\\\/B07JQXVT8P","excludeKeywords":"","geolocation":true,"limit":"4","priceRange":"0.7-1.3","sid":"term-classicalmusic-6-pcs-txt-pos"}'\"\/> <div class=\""monetizer__price-comparison-explanatory-text\" body-copy-extra-small=\"\" editor-content=\"\"\/><\/div> <h3 class=\""p2"\">Robert Cohen\u00a0<\/i><\/span><\/h3>\nDecca 444 1812<\/i><\/span><\/strong><\/p>\nThis 1994 recording offers both technical and expressive brilliance. The tonal range is incredibly wide in the \u2018Canto Primo\u2019, while the intelligently depicted \u2018Fuga\u2019 moves from the power in the subject to an almost wistful conclusion with the harmonics. The ensuing \u2018Lamento\u2019 is poetically conveyed, leading to the reflective and subdued \u2018Canto Secondo\u2019. <\/span><\/p>\nA perfect contrast ensues with a fiery \u2018Serenata\u2019, followed by a rhythmically unswerving \u2018Marcia\u2019. A beautifully voiced \u2018Canto Terzo\u2019 leads to an emblazoned Moto perpetuo<\/i>. A fabulous rendition.<i\/><\/span><\/p>\n<div class=\""monetizer__price-comparison-container"\" data-position=\""adhoc"\" hidden=\"\"> <h5 class=\""monetizer__price-comparison-title\" monetizer-title=\"\" style=\""background-color:\" color:=\"\"\/> <div id=\""monetizer__deals"\" data-type=\""price-comparison"\" data-config=\"'{"shopId":"1378","market":"gbp_en","template":"default","searchKeywords":"https:\\\/\\\/www.amazon.co.uk\\\/music\\\/player\\\/albums\\\/B01BMBY1LE","excludeKeywords":"","geolocation":true,"limit":"4","priceRange":"0.7-1.3","sid":"term-classicalmusic-6-pcs-txt-pos"}'\"\/> <div class=\""monetizer__price-comparison-explanatory-text\" body-copy-extra-small=\"\" editor-content=\"\"\/><\/div><\/body><\/html>\n<hr class=\"no-tts wp-block-separator\"\/>","protected":false},"excerpt":{"rendered":"By BBC Music Magazine Published: Thursday, 27 October 2022 at 12:00 am Written in 1964, \u201967 and \u201971,\u00a0 Britten\u2019s three Suites for Solo Cello, amongst the finest works for the instrument, owe their existence to one of the most charismatic and masterful cellists \u2013 Mstislav Rostropovich. How did Rostropovich inspire Britten\u2019s three Suites for Solo […]<\/p>\n","protected":false},"author":24,"featured_media":20930,"template":"","categories":[1],"acf":{"readingTimeMinutes":"7"},"uagb_featured_image_src":{"full":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/10\/brittens-cello-suite-no-1-a-guide-to-brittens-cello-masterpiece-and-its-best-recordings.jpg",894,900,false],"thumbnail":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/10\/brittens-cello-suite-no-1-a-guide-to-brittens-cello-masterpiece-and-its-best-recordings-150x150.jpg",150,150,true],"medium":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/10\/brittens-cello-suite-no-1-a-guide-to-brittens-cello-masterpiece-and-its-best-recordings-298x300.jpg",298,300,true],"medium_large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/10\/brittens-cello-suite-no-1-a-guide-to-brittens-cello-masterpiece-and-its-best-recordings-768x773.jpg",768,773,true],"large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/10\/brittens-cello-suite-no-1-a-guide-to-brittens-cello-masterpiece-and-its-best-recordings.jpg",800,805,false],"1536x1536":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/10\/brittens-cello-suite-no-1-a-guide-to-brittens-cello-masterpiece-and-its-best-recordings.jpg",894,900,false],"2048x2048":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/10\/brittens-cello-suite-no-1-a-guide-to-brittens-cello-masterpiece-and-its-best-recordings.jpg",894,900,false]},"uagb_author_info":{"display_name":"importmanagerhub@sprylab.com","author_link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/author\/importmanagerhubsprylab-com\/"},"uagb_comment_info":0,"uagb_excerpt":"By BBC Music Magazine Published: Thursday, 27 October 2022 at 12:00 am Written in 1964, \u201967 and \u201971,\u00a0 Britten\u2019s three Suites for Solo Cello, amongst the finest works for the instrument, owe their existence to one of the most charismatic and masterful cellists \u2013 Mstislav Rostropovich. How did Rostropovich inspire Britten\u2019s three Suites for Solo…","_links":{"self":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed\/20929"}],"collection":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed"}],"about":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/types\/rss_feed"}],"author":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/users\/24"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media\/20930"}],"wp:attachment":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media?parent=20929"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/categories?post=20929"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}