Cello suites (Britten)

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Cello suites
by Benjamin Britten
RIAN archive 438589 Mstislav Rostropovich.jpg
Cellist Mstislav Rostropovich, who inspired and first performed the suites dedicated to him
Opus 72, 80, 87
Genre Suites
Performed
  • 27 June 1965 (1965-06-27): Aldeburgh Festival (No. 1)
  • 17 June 1968 (1968-06-17): Aldeburgh Festival (No. 2)
  • 21 December 1974 (1974-12-21): Snape Maltings (No. 3)

The cello suites by Benjamin Britten (Opp. 72, 80, and 87) are a series of three compositions for solo cello, dedicated to Mstislav Rostropovich. The suites were the first original solo instrumental music that Britten wrote for and dedicated to Rostropovich, but Britten had earlier composed a cadenza for Joseph Haydn's Cello Concerto in C major, for Rostropovich, in 1964. Rostropovich gave the first performances of each work, and recorded Suite No. 1 and 2 commercially. [1]

Contents

Cello Suite No. 1, Op. 72

Britten wrote the First Suite at the end of 1964. The premiere was at the Aldeburgh Festival [2] on 27 June 1965. [3] The suite is in nine movements, played without pause:

The score was published in 1966. [4]

Cello Suite No. 2, Op. 80

The Second Suite dates from the summer of 1967. Rostropovich gave the premiere at the Aldeburgh Festival, Snape Maltings, on 17 June 1968. The score was published in 1969. [5] The movements are as follows:

Cello Suite No. 3, Op. 87

Britten composed the Third Suite in 1971, [6] inspired by Rostropovich's playing of the unaccompanied Cello Suites of Bach. Rostropovich first performed the suite at the Snape Maltings, 21 December 1974. In 1979 the Britten Estate authorised Julian Lloyd Webber to make the suite's first recording. [7]

The Third Suite is in nine movements, performed without pause:

The work incorporates four Russian themes, including three arrangements of folksongs by Pyotr Tchaikovsky, [8] reminiscent of Beethoven's use of Russian themes in the Razumovsky quartets. The final Russian tune, stated simply at the end of the set, is the Kontakion of the Departed, the Russian Orthodox Hymn for the Dead. Philip Brett considers the Third Suite to be the most passionate of the three.[ citation needed ]

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References

  1. Anderson, Robert (1970). "Record Review: Britten: Two Suites for Cello, Op 72 and Op 80. Rostropovich. Decca SXL 6393". The Musical Times . 111 (1532): 1005. ISSN   0027-4666. JSTOR   i239384..
  2. Walsh, Stephen (Autumn 1965). "First Performances: Three New Britten Works". Tempo. New Series (74): 23–24. ISSN   0040-2982.
  3. Mann, William (1965). "Festival Reports: Aldeburg (August 1965)". The Musical Times . 106 (1470): 615–18. doi:10.2307/949333. ISSN   0027-4666. JSTOR   949333.
  4. Tilmouth, Michael (1967). "Review of Music: Britten, Benjamin, Suite, Op. 72". Music & Letters . 48 (3): 293. JSTOR   732740.
  5. Tilmouth, Michael (1970). "Reviews of Music: Second Suite, Op. 80". Music & Letters . 51 (1): 92–93. JSTOR   733210.
  6. Evans, Peter (July 1977). "Reviews of Music: Canticle V: The Death of Saint Narcissus, Op. 89; Third Suite for Cello, Op. 87". Music & Letters . 58 (3): 352–353. doi:10.1093/ml/58.3.352. JSTOR   734064.
  7. Michael Jameson (June 1997). "British Cello Music vol 1-2 Britten Third Suite for Cello". Fanfare.
  8. Anderson, Robert (1981). "Record Reviews: Bridge/Britten/Ireland". The Musical Times . 122 (1660): 388. doi:10.2307/960975. JSTOR   960975.

Sources