Please wait...

Hyperion Records

Click cover art to view larger version
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: 24 minutes 29 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 A minor, Op 40
composer

Andante  [8'43]

Introduction  EnglishFrançaisDeutsch
Virtuosity and modality are two elements in the A minor Cello Sonata. But our first surprise may be the range of minor keys explored by the first movement’s introduction, and the variety of almost (but not quite) Wagnerian harmonic sideslips. The flattened seventh is a feature of the main theme, as the long note in the middle of the bar is of the second theme – a favourite device of late nineteenth-century French composers. The development cleverly uses the minor-key explorations of the introduction to new effect.

The theme of the slow movement gives the impression of being about to break into recitative, as the cello’s phrases habitually begin with a rest on the first downbeat. This slight uneasiness is calmed in the beautiful central section, which inhabits a Duparc-like dream-world, before strenuous times return. The occasional harmonic corner suggests that Boëllmann had looked at the works of that great master of French organ writing, César Franck. The opening theme of the last movement not only provides further evidence of modal thinking, in an A minor with F sharps and G naturals, but also cunningly shows solidarity with the opening themes of the two previous movements: with the upbeat rhythm of the second movement, and with the triplet motion of the first. A chorale-like passage near the end of the movement subscribes to a familiar pattern in French music (see, for example, the finale of Saint-Saëns’s Third Violin Concerto), but this is merely a springboard for further rhythmic agitation, and the work ends, not in a triumphant A major, but in an A minor which perhaps reflects those searching minor keys in the introduction.

from notes by Roger Nichols © 1996

Show: MP3 FLAC ALAC
   English   Français   Deutsch