Jamaican Rumba And Other Pieces For Two Cellos And Piano Contents: Benjamin Jamaican rumba Brahms Lied Bridge Valse Russe Dvorák Slavonic dance Handel Andante Ireland Threnody Rachmaninov Polka Italienne Schumann Canon Stenhammar Interlude Jamaican Rumba And Other Pieces For Two Cellos And Piano Contents: Benjamin Jamaican rumba Brahms Lied Bridge Valse Russe Dvorák Slavonic dance Handel Andante Ireland Threnody Rachmaninov Polka Italienne Schumann Canon Stenhammar Interlude

Leo Tolstoy describes him as a sincere expression of genius. Towards the end of his life Scriabine was combining music not only with philosophy and other art forms but also with fragrances and colour codes. He believed this would lead to thebirth of a new world. But at age 43 he was gone. Scriabine did not write anything for the cello. Here therefore are a set of etudes which show his direction as a composer from the age of 15 to 40. Leo Tolstoy describes him as 'a sincere expression of genius'. Towards the end of his life Scriabin was combining music not only with philosophy and other art forms but also with fragrances and colour codes. He believed this would lead to the birth of a new world. But at age 43 he was gone. Scriabin did not write anything for the Cello. Here therefore are a set of etudes which show his direction as a composer from the age of 15 to 40.

Ten transcriptions of orchestral works and the violin sonatas amply describing the range of Bach's sensuality and virtuosity. With this collection the transcriber aims to make cellists consider Bach for their encores. The purpose of the series If Bach Was A Cellist is to live the fantasy that everything Bach wrote he wrote for the Cello. It may also serve as a way for cellists to get close to Bach through works other than the six solo suites and the three gamba sonatas. Ten transcriptions of Orchestral works and the Violin sonatas amply describing the range of Bach 's sensuality and virtuosity. With this collection the transcriber aims to make cellists consider Bach for their encores.

For many Christmas was ruined with the departure of Matthew Crawley from the popular TV series Downton Abbey after the Christmas Special which concluded Season 2. The piece presented here is the result of seeking consolation for what had just unfolded on the screen. Its romantic tone also makes the perfect encore. For fans of the popular TV series Downton Abbey Christmas Day 2012 came to a sad close as they witnessed the death of the well-loved character Matthew Crawley. This piece by Mats Lidstrom was composed in response to the shocking season finale and seeks consolation for what had just unfolded on the screen. Composed for Cello and Piano Lamenting Matthew Crawley also makes the perfect encore due to its romantic tone.

If Bach Was A Cellist-The purpose of the series if Bach was a cellist is to live the fantasy that everything Bach wrote he wrote for the cello. The concerto in D minor (BWV 1043) for two violins string orchestra and continuo by Johann Sebastian Bach (1685-1750) is one of his most loved works. Indeed the slow movement may be one of the most popular and loved pieces in the instrumental literature. Traditionally it is believed to have been written in Köthen where he held the position of 'fürstlischer Kapellmeister' from 1717-1723 a town that saw the birth of the Brandenburg concertos and the solo works for violin and cello. The Dorian church mode (the absent Bflat in the key of Dminor) would also speak for the younger Bach. Recent research however has shown that the orchestral parts carefully written out by Bach himself and found among the papers of his son Carl Philip Emanuel date from around 1730. The sophistication of the composition also speaks for a later date than Köthen. The original score has been lost. Always in need of concert material for his 'Collegium Musicus' in Leipzig Bach made a version of the present concerto for two harpsichords (BWV 1062). The original key was transposed to C minor so that the top note would not exceed a D but remain within the range of a standard harpsichord. Another C minor concerto (BWV 1060) for two harpsi-chords often heard in an arrangement from the 1920's for violin and oboe by Max Schneider and Max Seiffert speaks for two concertos in D minor for two violins by Bach. When arranging an orchestral score for the pianoforte one has to remember that a double-bass sounds an octave lower than notated. This is a welcomed fact when dealing with two instruments that play the original solo parts an octave down. At the same time for a transcription of this kind the ambition must be to avoid the cello soloists playing in octaves with the violin tutti parts - which is what would happen were they to share the same material. This ambition made a piano reduction

My youngest son Leif was learning the piano part. We wanted to surprise his teacher Graeme Humphrey with a private performance. It was during piano practise that I started thinking 'why not!' why not compose my own swan! The idea is not a new one. There is a beautiful - and difficult! - Swan by Finnish composer Selim Palmgren (1878- 1951) and a variante on Saint-Saëns' original by his student Leopold Godowsky (1870-1938) enriched in the deliciously imaginative way so typical of him. For my own undertaking I wanted part of the material to associate with Saint-Saëns' Swan to be immediately recognisable. Beyond beauty and resplendence I sought no further. Two different endings hint at Saint-Saëns' original in which the last chord of the piano part has the length of an eighth-note. A remarkable end to a piece of such dignity and grandeur possibly eccentric but it often leads to performances ending on a fermata for both players. This is unquestionably very beautiful and atmospheric and comes with a guaranteed effect on an audience which is ready to seek relief in a sigh. This to be weighed of course against the composer's own design. Your call.

Cello Etudes Of Past Masters

Through Windows of Thine Age was written in gratitude and deep admiration for the Swedish Prime Minister Olof Palme one of Sweden's most creative politicians. It swings between romanticism and the wild with the Swedish national anthem present in almost every bar. Through Windows of Thine Age was written in gratitude and deep admiration for the Swedish Prime Minister Olof Palme one of Sweden's most creative politicians. It swings between romanticism and the wild with the Swedish national anthem present in almost every bar. As an international soloist and chamber musician Mats Lidström has gained a reputation for performances of great insight and virtuosity. He has been a member of the Cello faculty at the Royal Academy of Music since 1993. Other works include Suite Tintin for Cello and Piano and Rigoletto Fantasy for Cello and Orchestra. His children's story The Stamp King also comes in the form of amelodrama with the narration accompanied by Cello and Piano. His transcriptions for Cello are numerous. They include music from Bach to Cole Porter. Mats Lidström has recorded for Hyperion BIS EMI and Deutsche Grammophon.

Portraits honours six women of talent dedication and exceptional bravery. In the case of Veronica Guerin and Anna Politkovskaya the ultimate price was paid in their search for truth. Despite looking brutality in the eye and facing corrupted minds and souls yielding was never an option. Instead they pushed on. Portraits aims to remind us of their goal and to prolong their voices.

Music for romantic moments. These four separate pieces for cello and piano may be used as encores following a recital. Or for vowing in general.

BWV 992- Music by a 19-year old. With such love and tenderness a song without words as presented in the first movement it is surprising that the composer's older brother Johann Jakob did leave. In 1704 he accepted a position as oboist in the Royal Guard of the Swedish King Charles XII in a time of war. This meant travelling far away from home to foreign lands to face the enemy and to risk never returning. Through music Johann Sebastian pleads with his brother to abandon his plans.

Ballroom Dances (ABRSM grade level 1 - 6) is a new exciting work for cello and piano from performer and composer Mats Lidström.As with Traffic Spooky Pieces and Hotel Suite Ballroom Dances makes a point of introducing less experienced players to the air of a professional recital through a corresponding piano part (full throttle!). There is passion and lyricism widedynamic range and swift musical contrasts. All dances comply with the international rules for competitive ballroom dancing.Ballroom Dances (ABRSM grade level 1 - 6) is a new exciting work for cello and piano from performer and composer Mats Lidström. As with Traffic Spooky Pieces and Hotel Suite Ballroom Dances makes a point of introducing less experienced players to the air of a professional recital through a corresponding piano part (full throttle!). There is passion and lyricism wide dynamic range and swift musical contrasts. All dances comply with the international rules for competitive ballroom dancing. Cover Design by Sebastian Örnemark www.ornemark.se / Drawing (Indian ink) by Per-Erik 'Pelle' Lidström.

BWV997-The purpose of the series if Bach was a cellist is to live the fantasy that everything Bach wrote he wrote for the cello. It may also serve as a way for cellists to get close to Bach through works other than the six solo suites and the three gamba sonatas. I first came across the Partita by Johann Sebastian Bach in a version for flute and strings beautifully recorded by Kurt Redel. Since my early teens it has been on my list of special pieces. The four movements show extraordinary variation. In the hands of Bach the key of C minor becomes particularly powerful of limitless weight sometimes even stern. Is there an opening of a movement from the baroque era which compares withpower of the first movement here? It is a magni-ficent example of musical temperament. Three 18th century manuscripts survive. One found among the papers of C.Ph.E.Bach and two by Johann Philipp Kirnberger a student of J.S.Bach. All three are in the form of a keyboard sonata. Because of the choice of register however one may ask whether they are in turn arrangements of an original composition for solo flute or solo violin. The Double is very pianistic and may therefore have been added later. For all movements except the Fugue I have supplied a piano part for the right hand. The purpose of the series if Bach was a cellist is to live the fantasy that everything Bach wrote he wrote for the cello. It may also serve as a way for cellists to get close to Bach through works other than the six solo suites and the three gamba sonatas. I first came across the Partita by Johann Sebastian Bach in a version for flute and strings beautifully recorded by Kurt Redel. Since my early teens it has been on my list of special pieces. The four movements show extraordinary variation. In the hands of Bach the key of C minor becomes particularly powerful of limitless weight sometimes even stern. Is there an opening of a movement from the baroqueera which compares with power of the first movement here? It is a magni-ficent example of musical temperament. Three 18th century manuscripts survive. One found among the papers of C.Ph.E.Bach and two by Johann Philipp Kirnberger a student of J.S.Bach. All three are in the form of a keyboard sonata. Because of the choice of register however one may ask whether they are in turn arrangements of an original composition for solo flute or solo violin. The Double is very pianistic and may therefore have been added later. For all movements except the Fugue I have supplied a piano part for the right hand.

'I arrived in New York City from Sweden on a warm September evening to take up my studies with Leonard Rose at the Juilliard School of the Performing Arts. I was 18 years old. The first week I had fish for supper every day thinking mother would approve. During that time leading up to my first lesson I composed the suite presented here as a gift to my new teacher.' The 2004 revision meant some minor changes to the first five movements and the scrapping of the sixth. The sixth the final movement of the suite was initially a prelude and fugue a result of the theory lessons with composer Lawrence Widdoes - and in C minor at that. I decided to replace it with the Ave Maria music written a month after September 11 2001. As a citizen of this world I was desperate to counter inhumanity with positive creativity. The movement was written for the acoustics of a church.

Valse Pour Cello et Piano- Erik Satie 's charming fin-de-siecle waltz first appeared as a song in 1903. It was then transcribed by the composer for Piano solo and now is released for Cello and Piano by the talented pen of international soloist Mats Lidstrom .

Leo Tolstoy describes him as a sincere expression of genius. Towards the end of his life Scriabine was combining music not only with philosophy and other art forms but also with fragrances and colour codes. He believed this would lead to thebirth of a new world. But at age 43 he was gone. Scriabine did not write anything for the cello. Here therefore are a set of etudes which show his direction as a composer from the age of 15 to 40. Leo Tolstoy describes him as 'a sincere expression of genius'. Towards the end of his life Scriabin was combining music not only with philosophy and other art forms but also with fragrances and colour codes. He believed this would lead to the birth of a new world. But at age 43 he was gone. Scriabin did not write anything for the Cello. Here therefore are a set of etudes which show his direction as a composer from the age of 15 to 40.

Jamaican Rumba And Other Pieces For Two Cellos And Piano Contents: Benjamin Jamaican rumba Brahms Lied Bridge Valse Russe Dvorák Slavonic dance Handel Andante Ireland Threnody Rachmaninov Polka Italienne Schumann Canon Stenhammar Interlude Jamaican Rumba And Other Pieces For Two Cellos And Piano Contents: Benjamin Jamaican rumba Brahms Lied Bridge Valse Russe Dvorák Slavonic dance Handel Andante Ireland Threnody Rachmaninov Polka Italienne Schumann Canon Stenhammar Interlude

Mats Lidström 's Mother's Day & Father's Day - a lullaby and a waltz for serenading Mothers and Fathers. Two sweet and gentle pieces of moderate difficulty.