Label: Philips - 6401 903 • Format: Vinyl LP, Album • Country: Netherlands • Genre: Jazz, Pop • Style: Easy Listening, Instrumental
Pierre Fournier was one of the most eminent cellists of the generation after Pablo Casals. Praised as an "aristocrat of cello playing", he was admired for his soulful, singing tone, his uncomplicated Ei Intressii - Sveden Passive - Vahvoja Liikkeitä and his refined sound. Inalongside Jean Martinon and the Orchestre Philharmonique de la RTF, he presented a passionate reading of the work, permitting a telling comparison to his previous studio recording.
Fournier's brief announcement before this work has been included here: in it he pays tribute both to Pablo Casals - whose cello version of the old Catalan Christmas carol became an obligatory constituent of his concerts and a secret hymn for all Never Give It Up - Monsieur Minimal - High Times and emigrants longing for home - and also to the cellist and composer Enrico Mainardi, who had died only a few months previously, on 10 April The aim of this CD edition is to rediscover treasures - most of which have not been released previously - from the first six decades of the festival.
These recordings have been made available by the archives of SRF Swiss Radio and Television, which has broadcast the Lucerne concerts from the outset. Mehr lesen. The two concertos were recorded for DG a few years before these Lucerne Festival appearances.
While Pierre Fournier made landmark studio recordings of Mehr lesen. Mit schlankem, gleichwohl leuchtenden Ton und wohldosierten Rubati I Wish You Would - The Yardbirds - London Gets Blues In The Night er [Fournier] einen eher form- als sentimentbetonten Dvorak. Optimal restauriert Mehr lesen.
Three previously unreleased, live Lucerne Festival performances document the great French cellist Pierre Fournier at the height of his Mehr lesen.
The loving nobility of the conception permeates the entire performance [ Pierre Fournier made a number of appearances at the Lucerne Festival and this release provides examples of three such visits given over a year Mehr lesen.
Audite's Fournier CD is a treasure, live performances by the legendary cellist. An important release! Let me deal with the encore first! Soyez heureux! Ontroerend wordt het bij Fourniers aankondiging van het 'Lied van de vogels' van Casals. Hij vraagt het publiek uit eerbied voor de grote Spaanse cellist niet te klappen. Tijdens en na de magistrale vertolking is het muisstil. CD EUR Auto-Rip: When you complete a purchase Le Bonheur Est Entré De Mon Coeur - Tonny Eyk - Tonny Eyks Piano Party In Club Privé a physical album including CDs, vinyl and other formatsa free MP3 version of that album is added to your basket.
Download Track List Please choose the preferred audio format:. Stereo mp3 flac wav. Allegro Adagio, ma non troppo Allegro moderato Allegro non troppo Allegretto con moto Tempo primo Pierre Fournier. Dedication announcement: Pierre Fournier El cant dels ocells Multimedia Producer's Comment DigiBooklet. Informationen Pierre Fournier was one of the most eminent cellists of the generation after Pablo Casals. The Saint-Saens was recorded around for DG; this recording is from The Dvorak on DG was from ; this one is from The Saint-Saens is exactly half the length of the Dvorak, which lasts 37 minutes here.
Le Bonheur Est Entré De Mon Coeur - Tonny Eyk - Tonny Eyks Piano Party In Club Privé would expect a concert recording like this to be less than ideal in sound but perhaps more spontaneous.
But the Dvorak is clearly inferior in sound to the DG—both cello and orchestra. The sheer quality of the orchestra is unbeatable. After all, this recording is simply the festival orchestra—unlike the Saint-Saens, which has the superb French Radio Orchestra under a great French conductor. The Saint-Saens was recorded around for DG; this. Die Luzerner Festspiele bringen eine Reihe mit Aufnahmen aus ihrer.
Fanfare Best known among them, however, Washingtons March (Red Bird) - Edden Hammons - The Edden Hammons Collection Volume 1 long been his version for Deutsche Grammophon with George Szell and the Berlin Philharmonic.
It has about it a feeling of risk-taking and ardency that the cooler Szell lacks. But the two main problems, I think, are the conductor and the recording. Martinon seems to be holding Fournier back and dragging Le Bonheur Est Entré De Mon Coeur - Tonny Eyk - Tonny Eyks Piano Party In Club Privé proceedings down.
Perhaps the impression is due to the recording, which sounds bottom-heavy and muddy. Fournier plays the piece with aching, heart-throbbing beauty. From the very first fortissimo outburst, one knows that no prisoners will be taken and no quarter shown. The orchestral part is played on a positively Wagnerian scale, with thunderously roaring brass making epic declamations.
Did you ever before take note of the bass tuba part in this work? You will after hearing this performance! That is not to say that rapturous songfulness is absent or slighted; instead, it too is heroic and larger than life in its ardor. At first, one would think that all the sound and fury signifying a great deal more than nothing would overwhelm Fournier, a performer known for the dapper elegance of his playing; but instead the soloist vs.
While neither one could be designated a desert-island choice—they are too unrepresentative of the norms for that—both rightly occupy unique niches in their respective discographies as renditions which absolutely must be heard.
But with Fournier and Martinon together in concert, matters are altogether different: from the opening orchestral chord and solo declamation, they are off to the races in an account of the score that is fleet of foot and dramatically taut, but also stylishly elegant.
Soloist, conductor, and orchestra negotiate all the hairpin turns in the score with nimble alacrity, and in the process also put paid to the ill-judged dismissals of it in some quarters as superficial.
This is a terrific interpretation. I could not possibly ask for a better illustration of the difference between a promising but inexperienced novice and a seasoned master than to play their respective recordings side by side. In a brief spoken introduction in French; the booklet unfortunately provides no translationFournier dedicates his performance to the memory of his distinguished colleague and frequent predecessor at the Lucerne Festival, cellist Enrico Mainardi, who had died a few months before.
As usual, Audite provides a first-class remastering from first-generation archival radio broadcast tapes, and a fine trilingual German-English-French booklet with a lengthy essay and numerous historic photographs. Highest possible recommendation. While Pierre Fournier made landmark studio recordings of.
Optimal restauriert. He was an elegant stylist with a fine, classic technique, an organic sense of portamento, and a wonderful ability to float a line. He was, in many ways, an alter ego to his more spontaneous contemporary, Paul Tortelier.
The big tune in the first movement has never been more exquisitely, more lyrically played, either by French horn or the soloist — Fournier is staggeringly in command of the big octave run with precision-cut separate notes leading to the glissando covered by the orchestra at the end. Three previously unreleased, live Lucerne Festival performances document the great French cellist Pierre Fournier at the height of his.
Audiophile Audition May 22, Gary Lemco May 22, The loving nobility of the conception permeates the entire performance [ Galler Tagblatt Mittwoch, This Lucerne broadcast has the significant advantage of Istvan Kertesz directing one of the major works of the composer that he was never able to record in the studio. Fournier tended to establish tempi in the first movement, although Sebastian seemed to drive him fast in Prague — and whilst there was clearly some room for latitude elsewhere in Damaged Goods - Revolution 9 - You Might As Well Live concerto, notably so with Szell in Cologne in the slow movement, this is a standard Fournier tempo.
French cellists seldom fell into the trap of drawn-out sentimentality in this work; their approach was one of dignity, though never hauteur. No one was a more dignified exponent of this work than Fournier whose bowing remained supple and unshowy, and whose tonal resources were never placed at the altar of flamboyant display.
Concentrated and focused, and warmly expressive there are a few metrical displacements that momentarily imperil co-ordination with Kertesz, but they are trivial in the context.
The winds are forward, orchestral pizzicati register well and the sound-stage is excellently preserved. The brass is at its best in this movement as well. The finale works splendidly, with Fournier making a characteristic small but telling slide at the most apposite moment. Kertesz directs here, and throughout, with flair and authority. His tone, as a result, sounds just a bit more nasal than one is used to. Audience applause is retained.
His playing is once again refined and avoids any hint of the overwrought. Though these live performances are, in a sense, ancillary to his studio legacy they do represent some exceptionally fine performances. Pierre Fournier made a number of appearances at the Lucerne Festival and this release provides examples of three such visits given over a year. It's utter perfection in every respect, a fair match Le Bonheur Est Entré De Mon Coeur - Tonny Eyk - Tonny Eyks Piano Party In Club Privé the master himself, whether for its rapt phrasing or warm-textured tonal projection.
I played it again and again and cannot imagine anyone who connects with the soul of the cello not responding likewise. The principal items are scarcely less engaging. Sadly Istvan Kertesz never got round to supplementing his LSO Dvorak symphony cycle for Decca with a Stack-It - The Shadows - Steppin To The Shadows recording of the Cello Concerto, so it is especially fortuitous that Audite should have located this Lucerne tape with Fournier as the soloist and the Swiss Festival Orchestra under Kertesz's baton, a performance that combines great tenderness with the kind of outdoors-style exuberance that was so characteristic of Kertesz's Dvorak style.
Climaxes blaze and Fournier's phrasing has a tenderness about it that recalls the best of his earlier recordings of the same work. Furthermore, the stereo sound is excellent as it is in the Casalswhereas the relay of Saint-Saens's First Concerto with Jean Martinon conducting the RTF Philharmornic Orchestra enjoys a clear but relatively constricted mono sound frame, the performance similarly vital, with lyrically arched phrasing and a typically animated account of the Inch Allah - Léo Denis Et Sa Trompette* - Trompette Succès Vol.4 score.
Quite a find this, and much to be recommended. Lejos de quedar en Segundo plano, el Concierto para chelo en la menor, op. February total time: 60 min.
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