Ste No.1, Op.72: Canto Primo. Sostenuto E Largamente
Ste No.1, Op.72: I. Fuga. Andante Moderato
Ste No.1, Op.72: II. Lamento. Lento Rubato
Ste No.1, Op.72: Canto Secondo. Sostenuto
Ste No.1, Op.72: III. Ser. Allegretto: Pizzicato
Ste No.1, Op.72: IV. Marcia. Alla Marcia Moderato
Ste No.1, Op.72: Canto Terzo. Sostenuto
Ste No.1, Op.72: V. Bordone. Moderato Quasi Recitativo
Ste No.1, Op.72: VI. Moto Perpetuo E Canto Quarto. Presto
Ste No.2, Op.80: I. Declamato. Largo
Ste No.2, Op.80: II. Fuga. Andante
Ste No.2, Op.80: III. Scherzo. Allegro Molto
Ste No.2, Op.80: IV. Andante Lento
Ste No.2, Op.80: V. Ciaccona. Allegro
Ste No.3, Op.87: I. Intro. Lento
Ste No.3, Op.87: II. Marcia. Allegro
Ste No.3, Op.87: III. Canto. Con Moto
Ste No.3, Op.87: IV. Barcarola. Lento
Ste No.3, Op.87: V. Dialogo. Allegretto
Ste No.3, Op.87: VI. Fuga. Andante Espressivo/VII. Recitativo. Fantastico
Ste No.3, Op.87: VIII. Moto Perpetuo. Presto
Ste No.3, Op.87: IX. Passacaglia. Lento Solenne
Ste No.3, Op.87: Mournful Song (Under The Little Apple Tree). Molto Semplice-Autumn. Vivace...
Written between 1964 and 1971 for Britten's friend Mstislav Rostropovich, these suites exploit every resource of the instrument and require utmost technical, intellectual, and musical proficiency from the player. Though th... more »ey share a certain austerity and love of sound effects, each has its own character and structure. The first frames three pairs of contrasting movements with a recurring ostinato; the second opens with declamatory conversations between the cello's low and high registers and demands pyrotechnics-like chords, double stops, simultaneous bowing, and plucking; the third alternates plucked and bowed passages and features extreme contrasts of character, dynamics and moods. Young Jean-Guihen Queyras, a multiple prizewinner with a burgeoning European career, surmounts all these formidable hurdles without strain, playing with an unfailingly beautiful, pure, variable tone, and total authority and involvement. --Edith Eisler« less
Written between 1964 and 1971 for Britten's friend Mstislav Rostropovich, these suites exploit every resource of the instrument and require utmost technical, intellectual, and musical proficiency from the player. Though they share a certain austerity and love of sound effects, each has its own character and structure. The first frames three pairs of contrasting movements with a recurring ostinato; the second opens with declamatory conversations between the cello's low and high registers and demands pyrotechnics-like chords, double stops, simultaneous bowing, and plucking; the third alternates plucked and bowed passages and features extreme contrasts of character, dynamics and moods. Young Jean-Guihen Queyras, a multiple prizewinner with a burgeoning European career, surmounts all these formidable hurdles without strain, playing with an unfailingly beautiful, pure, variable tone, and total authority and involvement. --Edith Eisler
CD Reviews
For connoisseurs only
stonechat | hyperspace | 04/26/2002
(5 out of 5 stars)
"Why has nobody else given this recording five stars? It's the same on rec.music.classical and the like: everybody recommends Rostropovitch and all sorts of other cellists, and I never see Queyras mentioned. But this is inexplicable! As Amazon's Edith says, he plays with "unfailingly beautiful, pure, variable tone, and total authority and involvement". These are fascinating and lovely works, subtle and introspective: and listening to this recording you feel as though Queyras is sitting right beside you. What's more, the price is excellent. Conclusion: only buy this CD if you're sure you're going to appreciate it. Otherwise don't spread the word, and leave the stock for people who really know what's worth listening to!"
AMAZING !!!
Renato Sau Rios | Santos , SP BRASIL | 04/06/2007
(5 out of 5 stars)
"I've seen Queyras twice , at Sala São Paulo . He's an amazing cellist . His youth face tranforms itself when he plays .
I love his Britten's interpretations !
Great Album !!!!
"
Assured playing and great sound.
P. Edwin | Fukushima, Japan | 11/03/2007
(5 out of 5 stars)
"Make no mistake, this is cello playing at its best. No strain with beautiful tone throughout, and more importantly a sublime understanding of this music. Apart from a miscalculated slowing down in the third suite, his tempos seem just right.
Highly recommended at any price."
A rich sense of bach
Murray Pura | waterton-glacier international peace park, Alberta | 11/16/2007
(5 out of 5 stars)
"I am listening to it right now. The bowing is making my speakers hum with the wonderful resonance of Queyras's cello. A rich, warm black-brown resonance. Forgive me, for I don't mind period instruments or performances on period instruments, and I know his cello is a 1696 Gioffredo Cappa (on loan!), but his technique brings out a thick strong richness that I don't hear in some period performances. There the cello technique, to my ears, creates a thinner sound that has more ice in it, and more white. This happened recently comparing two sets of Bach's cello suites, one done in a modern style, the other baroque. The baroque rendering did not have the thick running-through-my-bones strength of the modern. It is a matter of taste. And Queyras's sound is what I have been missing from some other contemporary cellists. A dark French roast colour, beautiful, substantial, resonating right through with short strokes, long strokes, dark strokes.
It's impossible for me not to hear a semblance to Bach's unaccompanied suites here and from what I've read about Britten and these three suites, that effect was not unintended. I cannot see how anyone who loves Bach's suites would not love Britten's, especially played as powerfully and wonderfully as they are here. If you listen to this just once all the way through you will want to hear more of Queyras. Plenty of depth and passion on this CD. It should receive the SACD treatment just for that extra fullness (though the recording is so good it's hard to imagine how it could be improved upon.)"
Track Listings (23) - Disc #1