Any composer who writes a suite for unaccompanied cello takes inspiration from Johann Sebastian Bach's glorious models in some measure. Benjamin Britten, however, was just as inspired by the great cellist Mstislav Rostropovich's rich, romantic playing of the Bach suites as by the suites themselves. Britten wrote three solo suites for Rostropovich; this first one dates from 1964.

The compositional tactics here are a blend of Baroque and modern. Britten features a rich, sunny Canto at the start of the work, which is replayed in two other movements and takes on a different character each time. The first two movements proper pay homage to Bach. A fugue comes first, using Bach's technique of suggesting contrapuntal movement that is impossible to play on the cello. Yet the fugue subject is not conventional; it is snaky, with little rhythmic disturbances that make it difficult to pin down. The working-out of the subject is fairly conventional, but the music fades away at the end, leading into a movement titled "Lamento." This movement distinctly recalls the Sarabande from Bach's Fifth Cello suite; both feature winding, slow, sad and beautiful melodies played with no double stops. After a more timid version of the Canto, Britten plays with modern styles. A "Serenata" suggests an introspective flamenco with its use of pizzicato. Next, a "Marcia" begins with an oddly tinkly melody and moves into bolder strokes from the cello. These lose energy and fade into eerie high notes, which in turn lead into the next Canto—a much sadder statement than the previous two. The next movement, titled "Bordone: Moderato quasi recitativo," plays with the Baroque idea of monodic recitative over a droning bass. Finally, a devilish "Moto perpetuo" movement, with a driven, almost angry theme, begins at full speed. Britten brings back the Canto theme to stop the moto perpetuo theme in its tracks, and from there the Canto theme strives to subdue the moto perpetuo theme. They come to an uneasy truce at the movement's end.

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