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Hyperion Records

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Track(s) taken from CDA66888
Recording details: August 1995
St George's, Brandon Hill, United Kingdom
Produced by Andrew Keener
Engineered by Arne Akselberg
Release date: April 1996
Total duration: 30 minutes 28 seconds

'Cellists should rejoice, and so should those who know Benjamin Godard only from the Jocelyn Berceuse and Léon Boëllmann from the Suite Gothique. First-rate digital sound' (Gramophone)

'An interesting and compellingly played disc of offbeat repertoire. Strongly recommended' (The Penguin Guide to Compact Discs)

'This disc is chock-full of music I have never heard before. Without exception it is attractive, imaginative, and beautifully played … Lidström and Forsberg put us in their debt with this disc' (American Record Guide)

'This is wonderful. Unfamiliar yet instantly captivating repertoire leaves you wondering why you'd never heard this music before, especially when performed with the compelling advocacy and stunning bravura brought by Mats Lidström and Bengt Forsberg … This is a release of the highest distinction and significance, faultlessly played and atmospherically recorded … Very highly recommended' (Fanfare, USA)

Sonata for cello and piano in D minor, Op 104
composer

Moderato  [11'39]

Introduction  EnglishFrançaisDeutsch
In the D minor Cello Sonata, the predominant influence is that of Schumann. This may have been a drawback in Chabrier’s eyes, but to the modern listener, unconcerned with the claims of novelty, it leads to a blend of strong bass lines and mildly chromatic harmony which sits well with Godard’s pleasing melodic gift. In the first movement, his operatic leanings come out in a number of sudden changes of texture and dynamics, especially in some low, menacing chromatic swirls. Strong bass lines are again evident in the central slow movement, as is a partiality for the major third in the melodic line. The last movement is structurally the most complex, with three main themes, the third of them a passionate tune high on the cello which any operatic tenor would give his eye-teeth for. The almost patriotic tone of the ending again recalls Schumann.

from notes by Roger Nichols © 1996

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