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.

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 .

'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.

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.

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.

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.

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 .

'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.

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.

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.

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.

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.

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.

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 .

'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.

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.

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.

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.