Taking its title from the Scandinavian culinary terminology for a variety of delicacies, surely there has never been a more fascinating and evocative collection of short pieces recorded onto one disc? Personally chosen by the performers (with fascinating insights presented in Lidström's accompanying booklet, both historical and intimate), these musical jewels from around the world are firmly and deservedly ensconced in the hearts of these two engaging musicians, resulting in a magical discovery of pure indulgence for the privileged listener. One could not readily expect to find a more satisfying assembly of beautifully written and stunningly played works.
'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 ……
Anne Sofie von Otter, accompanied by Bengt Forsberg and joined by baritone Fredrik Zetterström for two duets, performs works by four Swedish composers whose works were all composed within a century of each other. These works provide a broad image of the early development of a Swedish Lied tradition and paved the way for the great generation of Swedish song composers, including Stenhammar, Peterson-Berger and Rangström.
Mats Lidström opens his notes for this exciting and varied new release with these emphatic words: “Let it be known that cellists’ repertoire is unlimited”! In that spirit this outstanding duo offer us a feast of fine fare from the neglected French repertoire. This includes the remainder of the Breton song arrangements by Koechlin which where unknown to the players when they recorded the first set and have here been recorded for the first time from the manuscript in the composer’s family’s collection. As for Widor, he has come down in history ………….