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Sonata in C, Op. 65

by Benjamin Britten

Instrumentation
Cello, Piano
Composed
1961
Duration
18'
Publisher
Boosey & Hawkes

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About this piece

Britten's first work for Rostropovich, written after the cellist asked him for a piece after the 1960 concert that introduced them. Its five short movements are character studies rather than a classical sonata: a conversational Dialogo, an all-pizzicato Scherzo whose textures recall Balinese gamelan, a dark Elegia, a sardonic Marcia and a whirlwind Moto perpetuo built on the DSCH motif as a tribute to Shostakovich. Dedicated 'For Mstislav Rostropovitch' and premiered by him with Britten at the piano in Aldeburgh's Jubilee Hall on 7 July 1961; the solo part was edited by Rostropovich.

Technical overview

The second movement is played entirely pizzicato (Britten joked in a letter to Rostropovich about whether it would be playable); the finale is a fast perpetuum mobile. The solo part carries Rostropovich's fingerings and bowings.

Level rubric

Advanced

Left Hand

  • Unrestricted fingerboard operation.
  • Effortless high‑register passages with thumb position.
  • Execute large leaps, rapid shifts & fast runs with precise intonation.
  • Render double stops with clarity and even vibrato.
  • Crisp, stylistically appropriate ornamentation (trills, turns, mordents).
  • Instinctive micro‑adjustments in intonation for expressiveness.
  • False harmonics in low positions

Right Hand

  • Complete command of all bow strokes at any tempo/dynamic.
  • Comfortable execution of virtuoso passages (sautillé, intricate ricochet).
  • Tone projection from whisper‑quiet to fortissimo.
  • Integrate advanced bow patterns with expressive phrasing.
  • Demonstrate technical precision with a broad dynamic range.

Rhythm & Musicality

  • Interpret large‑scale structures with nuanced pacing and rhythmic freedom.
  • Highly refined phrasing with subtle note grouping & expressive rubato.
  • Convey emotional depth and stylistic authenticity.
  • Incorporate personal interpretive choices while meeting stylistic demands.

Levels are approximate guides, not strict requirements.