Orfeo
Britten: Cello Suites / Daniel Muller-Schott
$20.99
Details
- Composer
- BRITTEN, BENJAMIN
- Artist
- Daniel Muller-Schott
- Format
- CD
- Label
- Orfeo
- Released
- Apr 18, 2011
- Catalog #
- ORF-C835111
- UPC
- 4011790835129
About
BRITTEN Solo Cello Suites: Nos. 1–3 • Daniel Müller-Schott (vc) • ORFEO C 835 111 A (70:33)
Next to Bach’s six, there are probably no greater challenges to the art of the cello than the three suites for solo cello of Benjamin Britten, even considering those by Hindemith and Reger. Britten had wanted to compose six but died before he could write more than three. No matter; these are major pieces, and it is good to see them coming more into their own with a number of recent recordings of all or some of them.
We are told that it was hearing Rostropovich play the first Shostakovich cello concerto in 1960 that impelled Britten to write a sonata for him, which they performed the following year, and to write the Cello Symphony in 1963. The three suites followed in 1964, 1967, and 1971. It is customary to grant Rostropovich authority in the performance of the first two suites (he never recorded the third), though he himself had some later reservations about his recording of the first, because he thought he played it so much better later. But these suites have now become the province of young cellists and that’s a good thing.
Daniel Müller-Schott has all the technical skills necessary (a phenomenal pp , for instance). He takes a forthright approach to the first suite. The opening Canto is firmly stated and adumbrates what follows. His performance sounds to me more a matter of statements about than a lyrical exploration of Britten’s voice. On the whole, he seems much more comfortable in the second suite, though the concluding Ciaccona occasionally loses its sense of line. The third suite, however, starts off with a wonderfully caressing Lento, and Müller-Schott is completely engaged with what follows. No recording of Bach’s or Britten’s suites, however good, and this is certainly a good one, can take the place of hearing them live.
This recording is certainly to be recommended and it gets better as it goes on. Müller-Schott has a slightly grainy sound and this fits his approach. He has clearly taken to heart Leonard Bernstein’s view of Britten’s music that “if you really hear it, not just listen to it superficially, you become aware of something very dark.” These are dark recordings, indeed. This is not the only view possible of these suites, however, and I am also much taken with the more lyrical one by Tim Hugh (Naxos), a recording that seems to have slipped past us, and Peter Wispelwey has a recent (2010) live recording of the first suite that is wonderful to hear (Onyx). These are good times for Britten’s response to Bach.
FANFARE: Alan Swanson
Next to Bach’s six, there are probably no greater challenges to the art of the cello than the three suites for solo cello of Benjamin Britten, even considering those by Hindemith and Reger. Britten had wanted to compose six but died before he could write more than three. No matter; these are major pieces, and it is good to see them coming more into their own with a number of recent recordings of all or some of them.
We are told that it was hearing Rostropovich play the first Shostakovich cello concerto in 1960 that impelled Britten to write a sonata for him, which they performed the following year, and to write the Cello Symphony in 1963. The three suites followed in 1964, 1967, and 1971. It is customary to grant Rostropovich authority in the performance of the first two suites (he never recorded the third), though he himself had some later reservations about his recording of the first, because he thought he played it so much better later. But these suites have now become the province of young cellists and that’s a good thing.
Daniel Müller-Schott has all the technical skills necessary (a phenomenal pp , for instance). He takes a forthright approach to the first suite. The opening Canto is firmly stated and adumbrates what follows. His performance sounds to me more a matter of statements about than a lyrical exploration of Britten’s voice. On the whole, he seems much more comfortable in the second suite, though the concluding Ciaccona occasionally loses its sense of line. The third suite, however, starts off with a wonderfully caressing Lento, and Müller-Schott is completely engaged with what follows. No recording of Bach’s or Britten’s suites, however good, and this is certainly a good one, can take the place of hearing them live.
This recording is certainly to be recommended and it gets better as it goes on. Müller-Schott has a slightly grainy sound and this fits his approach. He has clearly taken to heart Leonard Bernstein’s view of Britten’s music that “if you really hear it, not just listen to it superficially, you become aware of something very dark.” These are dark recordings, indeed. This is not the only view possible of these suites, however, and I am also much taken with the more lyrical one by Tim Hugh (Naxos), a recording that seems to have slipped past us, and Peter Wispelwey has a recent (2010) live recording of the first suite that is wonderful to hear (Onyx). These are good times for Britten’s response to Bach.
FANFARE: Alan Swanson
Tracklist 24 tracks
-
1 Canto primo: Sostenuto e largamente – 02:36
- Track
- 1
- Title
- Canto primo: Sostenuto e largamente –
- Duration
- 02:36
- Composer
- Benjamin Britten
- Performer
- Daniel Müller-Schott
-
2 I. Fuga: Andante moderato – 04:06
- Track
- 2
- Title
- I. Fuga: Andante moderato –
- Duration
- 04:06
- Composer
- Benjamin Britten
- Performer
- Daniel Müller-Schott
-
3 II. Lamento: Lento rubato – 02:40
- Track
- 3
- Title
- II. Lamento: Lento rubato –
- Duration
- 02:40
- Composer
- Benjamin Britten
- Performer
- Daniel Müller-Schott
-
4 Canto secondo: Sostenuto – 01:15
- Track
- 4
- Title
- Canto secondo: Sostenuto –
- Duration
- 01:15
- Composer
- Benjamin Britten
- Performer
- Daniel Müller-Schott
-
5 III. Serenata: Allegretto: pizzicato – 02:14
- Track
- 5
- Title
- III. Serenata: Allegretto: pizzicato –
- Duration
- 02:14
- Composer
- Benjamin Britten
- Performer
- Daniel Müller-Schott
-
6 IV. Marcia: Alla marcia moderato – 03:44
- Track
- 6
- Title
- IV. Marcia: Alla marcia moderato –
- Duration
- 03:44
- Composer
- Benjamin Britten
- Performer
- Daniel Müller-Schott
-
7 Canto terzo: Sostenuto – 02:11
- Track
- 7
- Title
- Canto terzo: Sostenuto –
- Duration
- 02:11
- Composer
- Benjamin Britten
- Performer
- Daniel Müller-Schott
-
8 V. Bordone: Moderato quasi recitativo – 03:10
- Track
- 8
- Title
- V. Bordone: Moderato quasi recitativo –
- Duration
- 03:10
- Composer
- Benjamin Britten
- Performer
- Daniel Müller-Schott
-
9 VI. Moto perpetuo e Canto quarto: Presto 03:29
- Track
- 9
- Title
- VI. Moto perpetuo e Canto quarto: Presto
- Duration
- 03:29
- Composer
- Benjamin Britten
- Performer
- Daniel Müller-Schott
-
10 I. Declamato: Largo 03:52
- Track
- 10
- Title
- I. Declamato: Largo
- Duration
- 03:52
- Composer
- Benjamin Britten
- Performer
- Daniel Müller-Schott
-
11 II. Fuga: Andante 03:34
- Track
- 11
- Title
- II. Fuga: Andante
- Duration
- 03:34
- Composer
- Benjamin Britten
- Performer
- Daniel Müller-Schott
-
12 III. Scherzo: Allegro molto 01:46
- Track
- 12
- Title
- III. Scherzo: Allegro molto
- Duration
- 01:46
- Composer
- Benjamin Britten
- Performer
- Daniel Müller-Schott
-
13 IV. Andante lento 04:43
- Track
- 13
- Title
- IV. Andante lento
- Duration
- 04:43
- Composer
- Benjamin Britten
- Performer
- Daniel Müller-Schott
-
14 V. Ciaccona: Allegro 07:05
- Track
- 14
- Title
- V. Ciaccona: Allegro
- Duration
- 07:05
- Composer
- Benjamin Britten
- Performer
- Daniel Müller-Schott
-
15 I. Introduzione: Lento 02:42
- Track
- 15
- Title
- I. Introduzione: Lento
- Duration
- 02:42
- Composer
- Benjamin Britten
- Performer
- Daniel Müller-Schott
-
16 II. Marcia: Allegro 01:51
- Track
- 16
- Title
- II. Marcia: Allegro
- Duration
- 01:51
- Composer
- Benjamin Britten
- Performer
- Daniel Müller-Schott
-
17 III. Canto: Con moto 01:28
- Track
- 17
- Title
- III. Canto: Con moto
- Duration
- 01:28
- Composer
- Benjamin Britten
- Performer
- Daniel Müller-Schott
-
18 IV. Barcarola: Lento 01:39
- Track
- 18
- Title
- IV. Barcarola: Lento
- Duration
- 01:39
- Composer
- Benjamin Britten
- Performer
- Daniel Müller-Schott
-
19 V. Dialogo: Allegretto 01:51
- Track
- 19
- Title
- V. Dialogo: Allegretto
- Duration
- 01:51
- Composer
- Benjamin Britten
- Performer
- Daniel Müller-Schott
-
20 VI. Fuga: Andante espressivo 02:51
- Track
- 20
- Title
- VI. Fuga: Andante espressivo
- Duration
- 02:51
- Composer
- Benjamin Britten
- Performer
- Daniel Müller-Schott
-
21 VII. Recitativo: Fantastico 01:11
- Track
- 21
- Title
- VII. Recitativo: Fantastico
- Duration
- 01:11
- Composer
- Benjamin Britten
- Performer
- Daniel Müller-Schott
-
22 VIII. Moto perpetuo: Presto 00:50
- Track
- 22
- Title
- VIII. Moto perpetuo: Presto
- Duration
- 00:50
- Composer
- Benjamin Britten
- Performer
- Daniel Müller-Schott
-
23 IX. Passacaglia: Lento solenne 04:56
- Track
- 23
- Title
- IX. Passacaglia: Lento solenne
- Duration
- 04:56
- Composer
- Benjamin Britten
- Performer
- Daniel Müller-Schott
-
24 X. Molto semplice 04:32
- Track
- 24
- Title
- X. Molto semplice
- Duration
- 04:32
- Composer
- Benjamin Britten
- Performer
- Daniel Müller-Schott