Composer: Benjamin Britten
Works: Cello Suites – No. 1 in G, Op. 72; No. 2 in D, Op. 80; No. 3, Op. 87
Performers: Truls Mørk (cello)
Recording: Recorded in Ris Church, Oslo, Norway on October 11th-16th, 1998 and June 6th, 2000
Label: Virgin Classics VC5 45399-2 [DDD] [73’07]
Benjamin Britten’s Cello Suites stand as significant contributions to the instrument’s repertoire, encapsulating a range of emotional and technical diversity. Written for the illustrious Mstislav Rostropovich, these works reflect Britten’s unique voice, intertwining echoes of Bach with his own modernist sensibilities, creating a tapestry of sound that is both introspective and expansive. Composed during the 1960s and early 70s, these suites emerged during a period when Britten was grappling with themes of mortality and memory, making them not only a tribute to a friend but also a profound exploration of the human condition.
Truls Mørk’s interpretation of these suites is compelling and thoughtful, revealing a deep understanding of Britten’s idiom. His sound is characterized by a rich, warm tone, which serves the lyrical aspirations of the First Suite beautifully, particularly in the opening movement, “Canto primo: Sostenuto e largamente.” Mørk’s ability to sustain melodies while shaping phrases with a nuanced vibrato creates an atmosphere of introspection. The contrasting movement “Marcia” showcases Mørk’s technical prowess; he navigates the intricate rhythms with precision, and the articulation remains pristine even in the lower register, a testament to both his skill and the meticulous engineering by Arne Akselberg.
The Second Suite highlights Mørk’s multifaceted approach, effortlessly transitioning from the wistful fugue to the exuberant scherzo. Here, one can appreciate his interpretative choices; the “Andante lento” is imbued with emotional weight, as if he is inviting the listener to share in a contemplative dialogue. The final sections of the “Ciaccona,” dense with emotional gravity, are delivered with a palpable sense of urgency, immersing the audience in the work’s darker undertones. Mørk’s expressive nuances in the “Canto” of the Third Suite stand out, capturing both the sorrow and beauty inherent in Britten’s music, while his performance of the “Dialogo” evokes thoughts of Rostropovich’s spirited interpretations, although Mørk opts for a more introspective take.
The recording quality is commendable; the acoustic of Ris Church provides a resonant backdrop that enhances Mørk’s tone without overwhelming it. Each note is clearly defined, allowing the subtleties of dynamics and articulation to shine through, which is crucial for a repertoire that thrives on nuance. The natural reverberation contributes to a sense of space, lending an ethereal quality to the performance that aligns with Britten’s lyrical style.
Mørk’s interpretations, while undeniably influenced by the legacy of Rostropovich, carve out their own distinct path. By marrying youthful exuberance with a mature understanding of the music’s emotional core, Mørk presents a powerful argument for his place among the great cellists tackling this repertoire. His ability to engage with Britten’s complex emotional landscape while maintaining clarity and technical mastery makes this recording not just another entry in Mørk’s discography, but a significant contribution to the understanding of Britten’s Cello Suites.
This recording is an impressive showcase of Mørk’s artistry, reflecting a profound engagement with Britten’s music. The fusion of technical skill, emotional depth, and sonic clarity creates a compelling listening experience that honors the legacy of both composer and dedicatee.
