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COMPOSERBRITTEN, BENJAMIN
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PERFORMERDaniel Muller-Schott
Britten: Cello Suites / Daniel Muller-Schott
Regular price
$20.99
Unit price
per
- Orfeo
- April 18, 2011
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RELEASE DATEApril 18, 2011
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UPC4011790835129
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CATALOG NUMBERORF-C835111
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LABELOrfeo
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NUMBER OF DISCS1
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GENRE
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Canto primo: Sostenuto e largamente –
Composer: Benjamin Britten
Performer: Daniel Müller-Schott
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I. Fuga: Andante moderato –
Composer: Benjamin Britten
Performer: Daniel Müller-Schott
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II. Lamento: Lento rubato –
Composer: Benjamin Britten
Performer: Daniel Müller-Schott
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Canto secondo: Sostenuto –
Composer: Benjamin Britten
Performer: Daniel Müller-Schott
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III. Serenata: Allegretto: pizzicato –
Composer: Benjamin Britten
Performer: Daniel Müller-Schott
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IV. Marcia: Alla marcia moderato –
Composer: Benjamin Britten
Performer: Daniel Müller-Schott
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Canto terzo: Sostenuto –
Composer: Benjamin Britten
Performer: Daniel Müller-Schott
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V. Bordone: Moderato quasi recitativo –
Composer: Benjamin Britten
Performer: Daniel Müller-Schott
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VI. Moto perpetuo e Canto quarto: Presto
Composer: Benjamin Britten
Performer: Daniel Müller-Schott
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I. Declamato: Largo
Composer: Benjamin Britten
Performer: Daniel Müller-Schott
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II. Fuga: Andante
Composer: Benjamin Britten
Performer: Daniel Müller-Schott
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III. Scherzo: Allegro molto
Composer: Benjamin Britten
Performer: Daniel Müller-Schott
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IV. Andante lento
Composer: Benjamin Britten
Performer: Daniel Müller-Schott
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V. Ciaccona: Allegro
Composer: Benjamin Britten
Performer: Daniel Müller-Schott
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I. Introduzione: Lento
Composer: Benjamin Britten
Performer: Daniel Müller-Schott
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II. Marcia: Allegro
Composer: Benjamin Britten
Performer: Daniel Müller-Schott
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III. Canto: Con moto
Composer: Benjamin Britten
Performer: Daniel Müller-Schott
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IV. Barcarola: Lento
Composer: Benjamin Britten
Performer: Daniel Müller-Schott
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V. Dialogo: Allegretto
Composer: Benjamin Britten
Performer: Daniel Müller-Schott
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VI. Fuga: Andante espressivo
Composer: Benjamin Britten
Performer: Daniel Müller-Schott
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VII. Recitativo: Fantastico
Composer: Benjamin Britten
Performer: Daniel Müller-Schott
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VIII. Moto perpetuo: Presto
Composer: Benjamin Britten
Performer: Daniel Müller-Schott
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IX. Passacaglia: Lento solenne
Composer: Benjamin Britten
Performer: Daniel Müller-Schott
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X. Molto semplice
Composer: Benjamin Britten
Performer: Daniel Müller-Schott
Featuring ⌄
Product Details ⌄
Works ⌄
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
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