Ode to Benjamin Britten
A contribution by Ildikó Szabó
Having studied with students of Rostropovich and their pupils, I’ve always felt a special connection to Britten - both as a performer and composer. Perhaps to this day there is no more moving introduction to Schubert's 'Arpeggione' Sonata than Britten’s. And his friendship with and inspiration from Rostropovich is reflected - fortunately for us - in a rich and varied cello repertoire.
For tonight's programme, I have chosen the first and third solo suites because of their structural similarity - each consisting of nine movements. Both suites include a 'Marcia' and 'Moto perpetuo' - these typically "Brittenian" movements are already present in the 'Sonata in C', the earliest work of the collaboration. The compositions also share a quasi-vocal approach to certain movements, highlighting Britten’s sensitivity to the human voice and song as a genre. The 'Lamento' in 'Suite No. 1', the 'Recitativo' and 'Dialogo' in 'Suite No. 3', and the 'Dialogo' and the 'Elegia' in the 'Sonata in C' give opportunities for the cello to present as both a lyrical and theatrical instrument.
Britten was an ardent admirer of Bach and an intimate connoisseur of music history which is clearly evident in individual movements. Both solo suites include a 'Fuga', and the above mentioned 'Elegia' also serves as a Bachian 'Passacaglia'.
But if it's Britten, then we can't forget the humour, as exemplified by the 'Scherzo–Pizzicato' movement in the 'Sonata'. Another exclusively plucked movement is the 'Serenata' in the first 'Suite', which may be a reference to the Debussy 'Cello Sonata', and also a homage to Bartók, though the style is far from barbaro.
The 'Night Piece' was written as a compulsory piece for the Leeds Piano Competition in 1963 (lucky competitors!). Unlike virtuoso showpieces, this 'Notturno' challenges performers to explore emotional complexity rather than present sheer technical brilliance.
I hope this programme reflects Britten's genius - his ability to blend tradition with innovation and musical depth is truly unique and lovable, for performers and audiences alike.
