Mats Lidström writes:
'Of all the divine French cello sonatas, only the Debussy from 1915 is heard live today. But getting to know Pierné's puts French cello music in a new perspective. His Sonata is absolutely loaded with beautiful material and, as far as cello writing goes, Pierné knew no limits. The fast middle section starts out strict, however hinting desire. Build-up upon build-up become frustrating, and yet, sensual. The more he wants the thicker the chords, the bigger the shifts. It's all terribly exciting, but the expression is serious. The slow section from the beginning returns with intensified beauty, even managing to climax before ending peacefully in that wonderful key he picked, F sharp minor.

'After playing the last note of our first performance of Koechlin's Sonata, I turned to Bengt and saw him look as fulfilled as I felt. I'll never forget it, because the feeling was very special. A kind of spiritual fulfilment, like when having encountered something totally honest.

'The Chansons Bretonnes are inspired by folklore from the middle ages: King Arthur, Crusades, Druids …'