Mats Lidström, Bengt Forsberg - Widor & Magnard: Cello Sonatas; Koechlin: Chansons bretonnes (2003)
BAND/ARTIST: Mats Lidström, Bengt Forsberg
- Title: Widor & Magnard: Cello Sonatas; Koechlin: Chansons bretonnes
- Year Of Release: 2003
- Label: Hyperion
- Genre: Classical
- Quality: flac lossless (tracks) +Booklet
- Total Time: 01:11:38
- Total Size: 261 mb
- WebSite: Album Preview
Tracklist
01. Magnard: Cello Sonata in A Major, Op. 20: I. Sans lenteur
02. Magnard: Cello Sonata in A Major, Op. 20: II. Sans faiblir
03. Magnard: Cello Sonata in A Major, Op. 20: III. Funèbre
04. Magnard: Cello Sonata in A Major, Op. 20: IV. Rondement
05. Koechlin: Chansons bretonnes, Book 3: I. La chanson du pilote
06. Koechlin: Chansons bretonnes, Book 3: II. Merlin au berceau
07. Koechlin: Chansons bretonnes, Book 3: III. La conversation de Merlin
08. Koechlin: Chansons bretonnes, Book 3: IV. Le faucon
09. Koechlin: Chansons bretonnes, Book 3: V. Le rossignol
10. Koechlin: Chansons bretonnes, Book 3: VI. L'enfant suppose
11. Koechlin: Chansons bretonnes, Book 3: VII. L'épouse du Croise
12. Koechlin: Chansons bretonnes, Book 3: VIII. Le page de Louis XIII
13. Koechlin: Chansons bretonnes, Book 3: IX. La marche d'Arthur
14. Widor: Cello Sonata in A Major, Op. 80: I. Allegro moderato
15. Widor: Cello Sonata in A Major, Op. 80: II. Andante con moto
16. Widor: Cello Sonata in A Major, Op. 80: III. Allegro vivace
Mats Lidström opens his notes for this exciting and varied new release with these emphatic words: “Let it be known that cellists’ repertoire is unlimited”! In that spirit this outstanding duo offer us a feast of fine fare from the neglected French repertoire. This includes the remainder of the Breton song arrangements by Koechlin which where unknown to the players when they recorded the first set (CDA66979) and have here been recorded for the first time from the manuscript in the composer’s family’s collection.
As for Widor, he has come down in history first and foremost as a compser of colossal organ symphonies but this is not the whole story of the hearty and colourful character, as is evident in his lyrical and strongly emotive cello sonata. Magnard, by contrast, had a greater wish for formal nicety in his writing which, as our players confess, meant that they were taken by surprise by their moist eyes at the close of the funeral march movement of this sonata.
All in all an issue of surprises and power, charm and delight, from players whose recordings for Hyperion pour light upon lurking treasures.
01. Magnard: Cello Sonata in A Major, Op. 20: I. Sans lenteur
02. Magnard: Cello Sonata in A Major, Op. 20: II. Sans faiblir
03. Magnard: Cello Sonata in A Major, Op. 20: III. Funèbre
04. Magnard: Cello Sonata in A Major, Op. 20: IV. Rondement
05. Koechlin: Chansons bretonnes, Book 3: I. La chanson du pilote
06. Koechlin: Chansons bretonnes, Book 3: II. Merlin au berceau
07. Koechlin: Chansons bretonnes, Book 3: III. La conversation de Merlin
08. Koechlin: Chansons bretonnes, Book 3: IV. Le faucon
09. Koechlin: Chansons bretonnes, Book 3: V. Le rossignol
10. Koechlin: Chansons bretonnes, Book 3: VI. L'enfant suppose
11. Koechlin: Chansons bretonnes, Book 3: VII. L'épouse du Croise
12. Koechlin: Chansons bretonnes, Book 3: VIII. Le page de Louis XIII
13. Koechlin: Chansons bretonnes, Book 3: IX. La marche d'Arthur
14. Widor: Cello Sonata in A Major, Op. 80: I. Allegro moderato
15. Widor: Cello Sonata in A Major, Op. 80: II. Andante con moto
16. Widor: Cello Sonata in A Major, Op. 80: III. Allegro vivace
Mats Lidström opens his notes for this exciting and varied new release with these emphatic words: “Let it be known that cellists’ repertoire is unlimited”! In that spirit this outstanding duo offer us a feast of fine fare from the neglected French repertoire. This includes the remainder of the Breton song arrangements by Koechlin which where unknown to the players when they recorded the first set (CDA66979) and have here been recorded for the first time from the manuscript in the composer’s family’s collection.
As for Widor, he has come down in history first and foremost as a compser of colossal organ symphonies but this is not the whole story of the hearty and colourful character, as is evident in his lyrical and strongly emotive cello sonata. Magnard, by contrast, had a greater wish for formal nicety in his writing which, as our players confess, meant that they were taken by surprise by their moist eyes at the close of the funeral march movement of this sonata.
All in all an issue of surprises and power, charm and delight, from players whose recordings for Hyperion pour light upon lurking treasures.
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