View from Stradivari Peak

Works

  • CL123

    Giaccomo Puccini: Piccolo Tango and Other Pieces for Cello and Piano

    for cello and piano

    Comments
    The music of Giacomo Puccini is tangible as soil, nothing is accidental or expendable. It takes hold of you from the very first phrase. This volume presents eight transcriptions of some of Puccini’s instrumental pieces in an attempt to make him available to cellists for the recital halls.
    Listen Listen Buy
  • The Beauty of Scales

    Mats Lidström: The Beauty of Scales

    for cello

    Comments
    Scales make up much of what is beautiful in music. As such, they rely on a creative mind when it comes to bow speed, bow distribution and musical direction, becoming a powerful source of inspiration. Imagination combined with a wish for beauty may subscribe to charm. Beauty and charm may lead to Love, and thus we have learnt to love our scales!

    This scale book seek to exhaust the topic of scales: Chapter 1 contains all the classic scales (and a few more, to be fair) while Chapter 2 addresses some of the more exotic forms that scales take. In addition to extended techniques such as pizzicato, artificial harmonics, whole-tone scales, blues scales and scales of diminished and augmented thirds, etc., Chapter 2 explores double-stop scales in every interval from the unison to the tenth.
    Buy
  • CL121

    Mats Lidström: Aphrodite’s Rock

    for solo cello

    Comments
    Aphrodite’s Rock, a mighty sea stack outside and a popular tourist attraction outside Paphos, Cyprus, is the birthplace of the Goddess of Love. A local myth tells that the person who swims around it will blessed with eternal beauty. If that fails, Mats Lidström’s piece for solo cello offers an alternative: the sea is present in the middle section, while the legend itself is mused over from the very first note…
    Buy
  • ThroughWindowsOfThineAge

    Mats Lidström: Through Windows Of Thine Age

    Swedish rhapsody for cello and piano to the memory of Olof Palme

    Comments
    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.
    Buy
  • Mats Lidström: Le Cygne / The Swan

    Mats Lidström: Le Cygne / The Swan

    for cello and piano

    Comments
    'This is my way to honour Camille Saint-Saëns. Discretely the swan will glide parallel with all that happens in a cellist's life. The present swan is dedicated to my youngest son Leif, who was learning the piano part when his clever dad came up with the idea of writing his own swan.'
    Listen Buy
  • Mats Lidström: My heart is in the east

    Mats Lidström: My Heart is in the East

    for cello solo

    Comments
    This solo cello piece is dedicated to the memory of the Swedish diplomat Raoul Wallenberg who was 'removed' by the Soviet forces in Budapest in January 1945 while desperately trying to save the Jewish population caught up between two invading powers, one retreating, the other attacking. For my piece, I decided against commemorating one of the many episodes from Jewish history associated with pain. Instead, I started to search for something emphatically Jewish and beautiful. The poem of the 11th century Spanish Jewish physician and poet Yehuda Halevi ended my search. It describes the life of a Jew under Ottoman rule while keeping one's heart in the Land of Israel.
    Buy
  • Portraits

    Mats Lidström: Portraits

    for piano solo

    Comments
    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.
    Listen Listen Buy
  • mothers-fathers-day

    Mats Lidström: Mother’s Day & Father’s Day

    two gentle pieces for cello and piano

    Comments
    Two sweet and gentle pieces, a lullaby and a waltz, for serenading mothers and fathers. The pieces are dedicated to Sixten Gunnarsson, son of Hanna and Claes in Sweden.
    Buy
  • Mats Lidström: The Essential Warm-up Routine for Cellists

    Mats Lidström: The Essential Warm-up Routine for Cellists

    for cello solo

    Comments
    The great cellist Pierre Fournier liked to start every day as if it was the first. That may not apply to all facets of life, but it certainly does to cello playing. Warming up all aspects of instrumental technique enables us to draw on our full potential. Knowing that we are in command of our technique, our talent, we increase the chances of reaching the ultimate goal: feeling relaxed when we perform. These sixty pages, meant to fit a music stand, is a warm-up programme which I have developed and used over a number of years. If I leave it one day, it is still present as a reference point to how I should have sounded on the cello while playing a piece of music. The warm-up routine gives me a head start. The chapters of this book are numbered, with the odd numbers assigned to the bow arm and the even numbers to the left hand. Before proceeding to the exercises of a chapter, read the text so that you are ready to implement any guidelines given for your practising.
    Buy
  • Debussy: Syrinx

    Claude Debussy: la flûte de Pan (Syrinx)

    for cello solo

    Comments
    'The cello version of this famous flute piece enjoys several advantages. First of all, cellists need to breathe only because of musical reasons and not out of physical necessity. The warmth of the cello allows you to heighten the distinctively French about the piece. I would not try to imitate a flute but emphasise and use the very strength of the cello.'
    Listen Buy
  • Jamaican Rumba and other pieces for two cellos and piano

    Jamaican rumba and other pieces for two cellos and piano

    for two cellos and piano

    Comments
    'At some point in a cellist's life, or several, he or she will find themselves playing, reading or even performing, a cello duo. It is just one of those things. Most of the repertoire for two cellos is built around a rather predictable method of voicing in order to keep the parts equally interesting.But something happens when you add a piano-forte. Suddenly the balance is shifted and the strength of the cellos is released. The result is sometimes symphonic - and highly attractive. The 10 composers featured in the album are: Händel, Schumann, Brahms, Dvorak, Stenhammar, Rachmaninoff, Frank Bridge, John Ireland, Milhaud and Arthur Benjamin.'
    Listen Buy
  • Italian Concerto BWV971

    Johann Sebastian Bach: Italian Concerto BWV971

    for cello and piano

    Comments
    Bach’s wonderful idea for his Italian Concerto is that one person takes on both the role of soloist and orchestra. Apparently,I could not resist the obvious and divide them between two . Bach clearly indicates the entrances of the ‘soloist’ and where the orchestra plays the leading role,why transcribing the Concerto therefore was a fairly uncomplicated task. The problems occurred,of course, with a cello part furnished with half of Bach’s material: the bass line needed to remain in the piano left hand for obvious reasons - but then there was nothing left for the right hand! I have filled those gaps with my own pen,by composing sections in the baroque idiom hopefully undetectable by the naked ear,thus joining the list of illustrious musicians who had similar ambitions: Liszt,Godowsky,Busoni,Kodaly,Grainger and Stokowsky,to mention a few. The transcription is dedicated to my dear friend and collegue,the distinguished teacher and pedagogue Valter Despalj.
    Buy
  • Johann Sebastian Bach: Cello Concerto in A Major

    Johann Sebastian Bach: Cello Concerto in A Major BWV1055

    for cello and piano

    Comments
    'We have no evidence for which instrument this magnificent, lyrical and funky work was written. This allows us - in 2011 - to perceive the music on its own expressive terms and to imagine how it might be communicated with all its 'authentic' Bachian spirit in any number of ways. My arrangement for cello and orchestra is one such contemporary reading - and it fits the cello like a glove! As so often with Bach, if whim or circumstance had demanded, he would have transformed this radiant concerto for whatever medium was needed or favoured at the time: Bach's greatest borrowing was from himself.'
    Buy
  • Johann Sebastian Bach: Ten Encores

    Johann Sebastian Bach: Ten Encores

    for cello and piano

    Comments
    If we agree that the music of Johann Sebastian Bach is as romantic as that of Mozart, Tchaikovsky and Rachmaninoff, it will also work wonders in a recital hall. The pieces presented here encourage the use of Bach's music as encores. Its melodic beauty is a perfect way to part with an audience.
    Buy
  • Johann Sebastian Bach: Concerto in D Minor

    Johann Sebastian Bach: Concerto in D minor BWV 1043

    for two cellos and piano

    Comments
    'The double concerto for two violins and strings is one of Bach's most loved works. Indeed, the slow movement may be one of the most popular and loved pieces in the instrumental repertoire. It exists in a version in C minor for two harpsichords (BWV 1062). This would speak for, because of the more known concerto in C minor for two harpsichords (BWV 1060), two concertos in D minor for two violins. CelloLid.com intends to make both concertos into concertos for two cellos.'
    Buy
  • Johann Sebastian Bach: Concerto in C Minor

    Johann Sebastian Bach: Concerto in C minor BWV 1060

    for two cellos and piano

    Comments
    for two cellos and piano
    Buy
  • Antonio Vivaldi - Concerto in A Minor

    Antonio Vivaldi: Concerto in A Minor

    for two cellos and orchestra

    Comments
    'I always found this concerto one of the great works by Vivaldi. The stunning solo at the end of the last movement, popping up as from nowhere, made a transcription a must. The concerto is the eigth of twelve Vivaldi concertos appearing in 1713 in a volume called l'Estro Armonico (Harmonic Inspiration). Bach transcribed six of the twelve concertos, including the B minor concerto for four violins, reworked for four harpsichords and string orchestra.'
    Buy
  • work-sonata-in-c

    Johann Sebastian Bach: Sonata in C major BWV1037

    for two cellos and piano

    Comments
    The trio in C major BWV 1037,originally for two violins and basso continuo, was one of the first things I transcribed.For me it is interesting to note that already then it was Bach that topped my list, as well as finding the combination of two cellos and piano as fascinating and open for any kind of scoring, as I do now. I was student at the Juilliard School in New York City when I visited the offices of the music publishing house International Music Company,bringing a reference from my school president,composer Peter Mennin (superb cello concerto, by the way!). The person to receive me was the legendary Frank Marx who had worked there since the 1930’s. Thinking back,I am full of admiration for the time and respect he gave to the young nobody with a funny accent who entered his office. Tough businessman,though.He held my manuscript in his hands,examined it for maybe 5,6 minutes,asked a few questions,then looked at me with a friendly smile and said,‘We take it.I give you a hundered dollars for it.We’ll print twenty thousand copies to be distributed all over the world. No royalties,ok‘. I gladly accepted and eagerly shook his hand. He remained with his firm for a long time after that,Frank Marx. I think he was 98 when I received my last Christmas/Channuka card from him.
    Buy
  • Mats Lidström: Hotel Suite

    Mats Lidström: Hotel Suite

    for cello and piano

    Comments
    for cello and piano
    Listen Buy
  • Mats Lidström: Ballroom Dances

    Mats Lidström: Ballroom Dances

    for cello and piano

    Comments
    for cello and piano
    Listen Buy
  • Mats Lidström: Traffic

    Mats Lidström: Traffic

    for cello and piano

    Comments
    Traffic,Spooky pieces,Hotel Suite and Ballroom dances are written for the young player - or the player young at heart. There is an enormous amount of material available today for the young cellist,but to me very little goes beyond what is considered pedagogically correct. Simplicity seems the common cause. Why not push further? Some kids won’t take up the challenge,but others will. The main idea with these pieces is to offer something which would fit in a professional recital. For this reason,I have written piano parts that are not necessarily sight-readable,but that provide a real wall of sound.The idea is that with one’s accompanist blasting away behind, it will inspire to dig into the string in order to produce a tone which is sonorous, passionate and powerful. Another,for me important,aspect is presenting the kids with a piece of a respectable length,one that demands stamina and intellectual endurance.The latter is emphasisied by introducing swift changes in expression and techniques,such as the use of harmonics, tremolo,glissando,ponticello and the mute I often include these pieces in my own recitals, The printed fingerings are for my own use, and I would expect the teacher to make changes wherever he or she feels they do not comply with the ABRSM guide lines.   Traffic is the most technically demanding set of the four. They do not move beyond the tonal range of what a young player is used to,but rhythmically they require some sorting out. The piano part of the middle movement is at times thunderous and - hopefully - one may find traces of Erich Korngold. Find pieces 1 and 3 on youtube.com
    Buy
  • Mats Lidström: Spooky Pieces

    Mats Lidström: Spooky Pieces

    for cello and piano

    Comments
    Spooky pieces,Traffic,Hotel Suite and Ballroom dances are written for the young player - or the player young at heart. There is an enormous amount of material available today for the young cellist,but to me very little goes beyond what is considered pedagogically correct. Simplicity seems the common cause. Why not push further? Some kids won’t take up the challenge,but others will. The main idea with these pieces is to offer something which would fit in a professional recital. For this reason,I have written piano parts that are not necessarily sight-readable,but that provide a real wall of sound.The idea is that with one’s accompanist blasting away behind, it will inspire to dig into the string in order to produce a tone which is sonorous, passionate and powerful. Another,for me important,aspect is presenting the kids with a piece of a respectable length,one that demands stamina and intellectual endurance.The latter is emphasisied by introducing swift changes in expression and techniques,such as the use of harmonics, tremolo,glissando,ponticello and the mute I often include these pieces in my own recitals, The printed fingerings are for my own use, and I would expect the teacher to make changes wherever he or she feels they do not comply with the ABRSM guide lines. The Spooky pieces were written for my nephew Jonah. On his 15th birthday, I worried he would expect a moped - just as the 15-year olds do in Sweden. Well,Jonah is English,so I thought a few cello pieces would be just as happily received! A wise move? Find pieces 2 and 3 on youtube.com
    Listen Buy
  • Mats Lidström: Tango

    Mats Lidström: Tango

    for cello and piano

    Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

    Comments
    Tango in C major (1985) I used to compose all the time when I was 12,13 years old.Cello piece after cello piece.Nice titles,too.Moonwind was the little piece called which I wrote for Groucho Marx.Just to give an example. But then in 1984/85 I wrote a few more before going silent for another ten years until a commission from violinist Nadja Salerno-Sonnenberg,resulting in the Carnival in Venice for violin and two cellos. Since then I have not been able to stop writing music as well as playing it. A piece dating from the late summer of 1985 is the Tango in C major, a result from having listened to the Argentinian group Quinteto Real for 5,6 weeks straight. The cello part came down on paper first. I borrowed a piano of a friend’s friend in a flat at Mariatorget in Stockholm. There I spent 10 hours without a break on a piano stool and would not leave before I was done. I remember it being a bit of a struggle,but once finished it was nice to be free in the Swedish summer’s night.
    Buy
  • Mats Lidström: The Orchestral Cellist

    Mats Lidström: The Orchestral Cellist

    orchestral excerpts with comments on articulation, bowings and a general artistic approach.

    Comments
    'More than just a collection of difficult passages for the aspiring orchestral pro,these extracts from the classical,romantic and twentieth-century repertoire reveal the tricks of the trade. It is an indespensable resource for those preparing for auditions.' One's choice of dynamic,articulation and phrasing dictates the technique applied. Using a colour-coding,I am able,at a glance,to show suggestions of fingerings and bowings,but also comments that may help plan and form an interpretation.
    Auditioning Buy
  • Mats Lidström: The Stamp King

    Mats Lidström: The Stamp King (book)

    love ensued between captivity in a pyramid and duel with a Roman commander.

    Comments
    The way my story came about,was quite unexpected. It just…erupted, don’t really understand how. I had arrived to Berlin the night before the first rehearsal for my debut in the Philharmonic Hall. I decided that I needed a good night’s sleep, so I got ready for bed early. I stopped by the desk next to the TV and started jotting something down. At 5am I put the pen down with a little story out of my head. A few hours later I arrived to the rehearsal,knackered in a shrugging-my-shoulders- type of way. The story is about stamps,and their secret world which most people are not aware of. When you read the book we will share that secret. In the depth of the letter-box or in the sorting office at the post office,that’s where they all meet. Our hero,George V, King of England,finds true friendship in a Brazilian footballer and a Swedish inventor. Love ensues between the captivity in a pyramid and duel with a Roman commander - but will he succeed in his quest to find the treasure of King Solomon?
    Buy
  • Brahms For Fuch’s Sake

    Brahms For Fuchs’ Sake (DVD)

    Sonatas for Cello and Piano

    DVD Format PAL
    Sound: Dolby Digital Stereo
    Language: Menus/Booklet in English
    Regional Encoding: 0, All Regions
    Classification: Exempt

    Comments
    For Robert Fuchs' sake, for Benjamin Godard's sake, for Gabriel Pierné's sake, for John Ireland's sake: looking back at how Bengt and I have built up our repertoire over the years, it is obvious that we believe there is always an alternative piece to equal those of the standard repertoire. Many of the pieces we have tried chewed themselves to bits after a few bars, but sometimes we stumbled across something great, something beautiful. Like explorers in the Valley of Kings we have screamed with you. As musicians we feel that contribute by enlarging the repertoire.
    Listen Buy
  • Suite Tintin
    The Strad

    Mats Lidström: Suite Tintin (CD)

    and incidental music from Tintin’s travels for cello and piano

    Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

    Comments
    I may not know all the opus numbers of Schumann and Brahms,but I do know the Tintin adventures frame by frame. I started reading when I was 10 years old and never stopped. Today the books are within easy reach of my bed and if it is too late to read a whole adventure,I may just focus on on one of my favourite scenes. For my suite, I have picked nine of my favourites. My suite is an attempt to say thank you to Hergé,pay-back time. It is also a way to move Tintin onstage and into the recital halls. My ambition has been to write music for an audience of all ages,attempting to convey a mood of a scene,rather than using the techniques of a Film composer. 8 scenes were premiered at the Wigmore Hall with Peter Jablonski on May 27 2003, and with the Milou (Snowy) scene added to the suite,it was premeiered in its complete form at Frederiksdal (on the island of Lolland,Denmark) on June 11 2004 With Bengt Forsberg. The CD was recorded later that month.
    Buy