I am listening to it right now. The bowing is making my speakers hum with the wonderful resonance of Queyras's cello. A rich, warm black-brown resonance. Forgive me, for I don't mind period instruments or performances on period instruments, and I know his cello is a 1696 Gioffredo Cappa (on loan!), but his technique brings out a thick strong richness that I don't hear in some period performances. There the cello technique, to my ears, creates a thinner sound that has more ice in it, and more white. This happened recently comparing two sets of Bach's cello suites, one done in a modern style, the other baroque. The baroque rendering did not have the thick running-through-my-bones strength of the modern. It is a matter of taste. And Queyras's sound is what I have been missing from some other contemporary cellists. A dark French roast colour, beautiful, substantial, resonating right through with short strokes, long strokes, dark strokes.
It's impossible for me not to hear a semblance to Bach's unaccompanied suites here and from what I've read about Britten and these three suites, that effect was not unintended. I cannot see how anyone who loves Bach's suites would not love Britten's, especially played as powerfully and wonderfully as they are here. If you listen to this just once all the way through you will want to hear more of Queyras. Plenty of depth and passion on this CD. It should receive the SACD treatment just for that extra fullness (though the recording is so good it's hard to imagine how it could be improved upon.)