Beethoven / Fournier / Gulda - Works For Cello & Piano (2pk) vinyl record cover

1

Cello Sonata No. 1 In F Major, Op. 5 No. 1: I. Adagia Sostenuto - II. Allegro

2

Cello Sonata No. 1 In F Major, Op. 5 No. 1: III. Allegro Vivace

3

Cello Sonata No. 2 In G Minor, Op. 5 No. 2: I. Adagio Sostenuto Ed Espressivo - II. Allegro Molto Più Tosto Presto

4

Cello Sonata No. 2 In G Minor, Op. 5 No. 2: III. Rondo. Allegro

5

Cello Sonata No. 3 In A Major, Op. 69: I. Allegro Non Tanto

6

Cello Sonata No. 3 In A Major, Op. 69: II. Scherzo. Allegro Molto

7

Cello Sonata No. 3 In A Major, Op. 69: III. Adagio Cantabile - Allegro Vivace


Item UPC: 8051773573835

Date First Available:

Label: URANIA RECORDS

Beethoven / Fournier / Gulda

Works For Cello & Piano (2pk)


ABOUT THE ALBUM


This new release features Pierre Fournier in his first recording of Beethoven's works for cello and piano in 1959 with Friedrich Gulda. Pierre Fournier (1906-1986) was born in Paris on June 24, and known in his lifetime as "the aristocrat of cellists," because of his lyrical playing, and for his impeccable artistic sensitivity. Fournier was the son of a French army general, and as a child was taught piano by his mother. At the age of nine he suffered a mild case of polio, and lost some of the dexterity in his legs and feet. No longer able to master the use of the piano pedals, he searched for another musical instrument, and turned to the cello. He quickly made good progress on his new instrument, and was able to win entrance to the Paris Conservatoire, where he became a pupil of Paul Bazelaire, and later Anton Hekking. He graduated at the age of seventeen, in the year 1923. Maurice Marechal called him "the cellist of the future." Even at such a young age, Fournier had tremendous virtuosity, and was famous for his bowing facility. He enjoyed modern music, as well as classical. Many modern composers wrote works for him, including Martinu, Martinon and Poulenc. As a teacher Fournier insisted that his students develop a smooth tone, and a high elbow for the right arm. He believed that the Sevcik violin exercises were valuable for cellists who wanted to perfect bowing technique.

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