Denise Djokic, David Jalbert - Cello Sonatas Rachmaninov and Chopin: Cello Sonatas Denise Djokic - Benjamin Britten: Three Suites for Cello Benjamin Britten: Three Suites for Cello Folklore: Denise Djokic, cellist Folklore Denise Djokic: Barber, Martinu, Britten Denise Djokic: Barber, Martinu, Britten

Benjamin Britten: Three Suites for Cello

  • Release date: 2008-03-11
  • Label: ATMA 2008 Catalogue
  • Catalog #: ACD22524

Britten wrote his Three Suites for Cello between 1964 and 1971 for his friend, the legendary cellist Mstislav Rostropovich. Like other composers including Hindemith, Bloch, Prokofiev and Shostakovich, Britten took his cue from J.S. Bach, whose six suites for solo cello composed in the 18th century remain the pinnacle of achievement for solo composition for that instrument. “I always like to write music not just for performers, but for people who are close to me spiritually,” wrote Britten of these intimate suites inspired by his close friendship with the great Russian cellist.

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Benjamin Britten (1913-1976)
Suite No. 1 Op. 72

1 Canto primo: Sostenuto e largamente
2 I. Fuga: Andante moderato
3 II. Lamento: Lento rubato
4 Canto secondo: Sostenuto
5 III. Serenata: Allegretto (pizzicato)
6 IV. Marcia: Alla marcia moderato
7 Canto terzo: Sostenuto
8 V.Bordone: Moderato quasi recitativo
9 VI. Moto perpetuo e Canto quarto: Presto

Suite No. 2 Op. 80

10 I. Declamato: Largo
11 II. Fuga: Andante
12 III. Scherzo: Allegro molto
13 IV. Andante lento
14 V. Ciaccona: Allegro

Suite No. 3 Op. 87

15 I. Introduzione: Lento
16 II. Marcia: Allegro
17 III.Canto: Con Moto
18 IV. Barcarolla: Lento
19 V. Dialogo: Allegretto
20 VI. Fuga: Andante espressivo
21 VII. Recitativo: Fantastico
22 VIII. Moto perpetuo: Presto
23 IX. Passacaglia: Lento solenne


“Djokic presents the music with dignity and flair – there is no sense of anything to prove, or of pressing on to the next big moment……Her playing is exquisitely recorded to bring out the freshness and crispness of her sound without losing any clarity through reverberation.”

The Strad, May 2009

“Denise Djokic offers all three solo Suites Britten wrote for Mstislav Rostropovich. Djokic has a hugely impressive technique, and her projection of singing melodic lines without exaggerated vibrato can be very touching. …this is a young player we’ll surely hear more from in future.”

BBC Music Magazine, May 2009

“Denise Djokic is not outclassed by anyone on disc in this repertoire. She’s a safe choice if you like the look of her fine-sounding, expansive CD, and she draws you right into the heart of this music without showing off, which is just the idea. With really secure pitch and accurate dynamics, she digs deep at the end of the Third, which thereby seems profound without being indulgent.”

Fanfare Magazine, May 2009

“I’m here to tell you now that the playing field has become even more crowded with the new ATMA (ACD2 2524) release of the Britten Cello Suites performed by Denise Djokic. …the cellist revisits Britten’s third suite with even more confidence and aplomb than the Sony recording from six years earlier, and adds brilliant performances of the first and second suites to complete the set. With this recording Djokic proves herself to be living up to the high expectations generated in her formative years.”

The WholeNote, February 2009

“Britten only finished three before he died, but each uses Baroque and Classical forms to Modern ends, creating fierce, beautiful works that don’t get performed nearly enough. Young Canadian cellist Denise Djokic does them proud here with breathtaking technique and a wide dynamic sweep.”

Toronto Star, 13 January 2009

“Surprisingly few cellists have recorded these three suites, perhaps because of the demands placed on the performer or perhaps because of their abstract nature. Cellist Denise Djokic, in only her second album release, sets out to conquer these works on this ATMA album. Listeners may be surprised at the exceptional prowess of this young artist. Her technique is nearly flawless, even in the most challenging of passages. Of high significance for these works is the issue of intonation, which Djokic also meets with ease. Britten’s continuous use of wide, open intervals is met with clarity and sparkling purity. Her tone is varied, as is her musical approach to the different characters presented in the contrasting suites. Easily able to stand alongside the great recordings of Rostropovich and Wispelwey, this album is very likely to please.”

Allmusic, 26 December 2008