SOLO CELLO SUITES BENJAMIN BRITTEN (1913-1976) Suite No. 3, Op. 87 (1971, rev. 1974) t I. Introduzione: Lento [1.50] y II. Marcia: Allegro [1.28] u III. Canto: Con moto [1.01] Suite No. 1, Op. 72 (1964) i IV. Barcarola: Lento [1.15] 1 Canto primo: Sostenuto e largamente [2.08] o V. Dialogo: Allegretto [1.40] 2 I. Fuga: Andante moderato [3.54] p VI. Fuga: Andante espressivo [2.09] 3 II. Lamento: Lento rubato [2.15] a VII. Recitativo: Fantastico [1.02] 4 Canto secundo: Sostenuto [1.07] s VIII. Moto perpetuo: Presto [0.50] 5 III. Serenata: Allegretto (pizzicato) [2.10] d IX. Passacaglia: Lento solenne [3.37] 6 IV. Marcia: Alla marcia moderato [3.24] f (molto simplice) [3.26] 7 Canto terzo: Sostenuto [1.46] 8 V. Bordone: Moderato quasi recitativo [2.29] g Tema ‘Sacher’ (1976) [1.22] 9 VI. Moto perpetuo e Canto quarto: Presto [2.55] Total timings: [61.16] Suite No. 2, Op. 80 (1967) 0 I. Declamato: Largo [3.07] q II. Fuga: Andante [3.48] w III. Scherzo: Allegro molto [1.47] e IV. Andante lento [4.18] r V. Ciaccona: Allegro [6.25] JAMIE WALTON CELLO www.signumrecords.com ARTIST’S NOTE not necessarily choose to simply listen to the was his festival at Aldeburgh, but Britten was to the wireless. I immediately realised Suites, after all an extremely intense and drawn to pre-eminent performing talent wherever that this was a new way to play the The Britten Suites for solo cello have a very specialised experience. he found it. Although naturally drawn toward cello, in fact almost a new, vital way of personal significance for me, ever since I operatic, vocal, choral and orchestral idioms, playing music. I made arrangements to discovered them in a library during a particularly I dedicate this recording to my late friend and the instrumental soloist was by no means come to London and heard him again, and challenging period in my life – the music spoke in producer, John West. neglected. He composed extraordinary works found him in the flesh even more than a way which could be described as life-changing celebrating the very greatest practitioners: the I’d expected.* and the motivation to learn these works became Jamie Walton, May 2013 horn player Dennis Brain, the harpist Ossian one which navigated me out of turmoil. It was Ellis and the lutenist and guitarist Julian Bream, This initial meeting between Britten and many years later, after a long break away from Banjamin Britten amongst others, being beneficiaries of his Rostropovich was at the Royal Festival Hall in the music, when I felt the desire to record them Suites for Cello Nos 1–3 & Tema ‘Sacher’ compositional largesse. London, September 1960, on the occasion of (at Snape Maltings). It was the last recording the UK premiere of Shostakovich’s First Cello I made with my friend and producer John West I certainly write music for human beings Later in 1964, the same year as the Aspen Concerto, with the irrepressible Rostropovich before he sadly passed away – the first work – directly and deliberately. I consider their Award speech, Britten developed the people and at the centre of the action. Shostakovich and we ever recorded together was the Britten voices, the range, the power, the subtlety, and occasions theme: Britten were meeting for the first time with Cello Symphony, so in a way we came full the colour potentialities of them. I consider Britten accepting the Russian composer’s circle having made a number of recordings in the instruments they play – their most I’ve always had the advantage … of invitation to sit with him in his box only days between, including the Sonata in C. expressive and suitable individual sonorities needing occasions or performers to attract after being astounded by the radio broadcast … almost every piece I have ever written has and inspire me – I mean inspire me in mentioned above. So excited was Britten during The Suites are so fascinating to study – both been composed with a certain occasion in the old sense; that is, the event or player the performance that Shostakovich later technically and musically. The potential of mind, and usually for definite performers … blows enthusiasm into me. After Dennis complained of having sore ribs after being the instrument is magnificently fulfilled with Brain and Julian Bream, it’s been repeatedly elbowed by an astonished Britten. originality and astonishing imagination, yet This extract from Benjamin Britten’s speech Rostropovich. … Rostropovich freed one After the concert, Shostakovich introduced never vacuously so. The depth and power of on being presented with the inaugural Aspen of my inhibitions. He’s such a gloriously Britten to Rostropovich whose years behind the this music is such that you can’t help being Award for Services to the Humanities cuts uninhibited musician himself, with the Iron Curtain precluded any thorough knowledge drawn in and I felt the need to present these right to the heart of the inspirations for his enormous feeling of generosity you get of the English composer’s output. Rostropovich masterpieces visually in a forthcoming DVD – work – people and occasions. Naturally, his from the best Russian players, coming to had heard only The Young Person’s Guide to I hope that this approach helps to create an partner, the tenor Peter Pears was a constant meet you all the way. I’d heard about the Orchestra, which is based on a theme by extra element of accessibility for those who may focus and impetus for many a composition, as him, and rather unwittingly listened Purcell. Having not even seen a photograph - 4 - - 5 - of Britten, and working purely on this Vishnevskaya describes it as a portrait of her emulate, but one which Britten, enthused and musicians of any sort come close to expanding baroque-hued evidence, he had assumed Britten husband, ‘now high and expressive, now low and encouraged by Rostropovich’s interpretations the repertoire of an instrument quite so widely was a composer from a previous century and grumbling, now gay and carefree.’ His first piece of these masterpieces, was keen to give his during their own lifetime. fell into a fit of laughter on being introduced of entirely instrumental music in over a decade, best. While infused with ideas, techniques to him. On realising that this was no practical Britten himself accompanied Rostropovich in and inspiration from these extraordinary works, 1964 was a busy year for Britten, honours and joke and Benjamin Britten was indeed standing the first performance at the Aldeburgh festival Britten does not present us with dance suites recognition of all kinds beginning to bring both before him, he immediately set about imploring in 1961. After a short illness in 1962, as such, but concentrates more on character great glory and often greater demands. Early in the composer to write something for him. Rostropovich wrote: ‘Dear Ben and Peter, if pieces which emanate from the plethora of the year Britten conducted the premiere of his you want me to recover completely I ask you particularities in Rostropovich’s awesome Symphony for Cello and Orchestra in Moscow, It didn’t take long for the ebullient, Rostropovich to see the doctor whose address is: The Red technique and protean re-creative ability. naturally with Rostropovich as soloist. The and Britten to form a close and lasting House, Aldeburgh, Suffolk. Only he can bring award of the Gold Medal of the Royal personal and professional relationship. Having me to life by composing a brilliant cello The impact that Rostropovich had on the Philharmonic Society followed and the inaugural no common fluent tongue, they communicated concerto.’ On receiving the first movement, cello repertoire of the last century can hardly Aspen award heaped yet more glory. The in their own bastardised form of German Rostropovich replied that it was ‘the very top be underestimated. His unique technique, Cello Suite No. 1, Op. 72 was composed at the which came to be known as ‘Aldeburgh of everything ever written for the cello’. inimitable sound and abundant enthusiasm end of this highly successful year. Deutsch’ after Britten’s adopted home town. made him a magnet for composers the world He wrote not only his three Cello Suites and But Britten was far from finished with the cello, over. The ‘speaking’ quality he imparted and Like Bach’s solo cello works the suite is formed the Cello Sonata for Rostropovich, but also his three Suites for Cello Opp. 72, 80 & 87 the depth, power and expressivity, his power of six movements, but with the addition of four the Cello Symphony and a set of cadenzas for once again combined his ‘people and of communication, most remarkably in the utterances of the slow, sustained, reflective Haydn’s C Major Cello Concerto. Britten, Pears occasions’ mantra. Just as the Cello Sonata lower register of the cello, opened up all sorts Canto acting as bookends and binding agent and Rostropovich together with his wife, the was written on the condition that Rostropovich of possibilities. He was also not backward at and which informs the musical argument of soprano Galina Vishnevskaya, appear to have should come to Aldeburgh to play it, so all begging, cajoling and commissioning works, the movements proper. The Fuga is marked by enjoyed a free and easy friendship, meeting three suites were not only written for either. The list of compositions written for, the sort of implied counterpoint common to socially, but also performing professionally. Rostropovich, but also premiered by the cellist dedicated to, or commissioned by Rostropovich the Baroque, and especially in Bach, where the Aside from the cello works for Rostropovich, in Britten’s adopted home.