Sheet music $12.63

Original

Mats Lidström. Le Cygne - The Swan. Sheet Music. Cello. Piano Accompaniment. VLC. PFA. Mats Lidström.

Translation

Mats Lidström. Le Cygne - The Swan. Sheet Music. Cello. Piano Accompaniment. VLC. PFA. Mats Lidström.

Original

"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. " - Mats Lidström.

Translation

"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. " - Mats Lidström.