DGG LP LPM18601: Beethoven Cello Sonatas Nos 1 & 2, FOURNIER, GULDA, 1960 DEU SS
$
150
$ 150
Sold For
Sep 15, 2020
Sold Date
Nov 28, 2019
Start Date
1
Number Of Bids
USA
Country Of Seller
eBay
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Description
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Background -
FACTORY SEALED vintage LP from November, 1960!Pierre Léon Marie Fournier was born into a military family. His father was a general; his mother was musical and taught him piano lessons. At the age of 9, he suffered a mild attack of polio. Weakness of his legs made pedaling the piano difficult. So he turned to the cello, and after making rapid progress, he was admitted to the Paris Conservatoire. His teachers there were Paul Bazelaire and Anton Hekking; he graduated in 1924 at the age of 17. Fournier made his debut the year after his graduation. This was a solo appearance with the Concerts Colonne Orchestra, which received favorable notices. The almost invariable comment in reviews was the perfection of his bowing technique. He began a successful career as a touring concert artist and as a performer in chamber music concerts, gaining a great reputation in Europe.
In 1937 to 1939, he was the director of cello studies at the Ecole Normal. It was often said that he became a friendly rival with his contemporary, cellist Paul Tortelier, and after attending a Tortelier concert remarked to him, "Paul, I wish I had your left hand." Tortelier responded, "Pierre, I wish I had your right." To Fournier, the secret of his great right hand (i.e., bowing technique) was keeping the elbow high, holding the bow firmly, but allowing the hand and arm to move fluidly. He prescribed the Sevcik violin bowing studies for his cello students.
In 1941, he became a member of the faculty at the Paris Conservatoire, but during the war years, his concert touring career was impossible. Once the war was over, though, was able to resume and he rapidly increased in fame and international stature. His old audience found that he had grown in artistic depth. Hungarian violinist Joseph Szigeti, meeting Fournier in rehearsals for a 1947 Edinburgh Festival appearance, had not heard him for over ten years and wrote that he was "tremendously impressed by the Apollonian beauty and poise that his playing had acquired in the intervening years. Szigeti, Fournier, violist William Primrose, and pianist Artur Schnabel formed a piano quartet in those years and gave some fabled concerts at which they played virtually all of Schubert's and Brahms' piano chamber music. Sadly, the BBC acetate air checks of this cycle were allowed to deteriorate and have been lost.
Fournier made his first U.S. tour in 1948. His chamber music partner Artur Schnabel spread the word among cellists, other musicians, and critics that they were to be visited by a great new cellist. The New York and Boston critics were ecstatic. He had to give up his Conservatoire post because of his expanding concert career; he appeared in Moscow for the first time in 1959. Commentator Lev Grinberg wrote that he was notable for a romantic interpretation; clarity of form; vivid phrasing; and clean, broad bowing all "aimed at revealing the content."
He had a broad repertoire, including Bach, Boccherini, the Romantics, Debussy, Hindemith, and Prokofiev. Composers Martinu, Martinon, Martin, Roussel, and Poulenc all wrote works for him. He had a standing Friday night date to privately play chamber music with Alfred Cortot, the eminent French pianist, at which they might be visited by musicians like Jacques Thibaud. In 1953, he became a Chevalier of the Legion of Honor and was promoted to officer in 1963.
In 1972, he retired to Switzerland and gave master classes. He still gave concerts, even as late as 1984 when he was 78, and a London critic praised the fluency of his playing and his strong and solid left-hand technique. - Joseph Stevenson
Classical and jazz pianist and composer, Friedrich Gulda was one of Austria's premiere pianists. Born in Vienna in 1930, Gulda started piano lessons at the age of seven. When he was 12, he enrolled in the Vienna Music Academy, and four years later received first place in the Geneva International Music Festival. In 1949, Gulda toured Europe and South America, earning international acclaim for his treatments of Bach, Mozart, and Beethoven, and the following year he successfully debuted at Carnegie Hall. Gulda became more involved in jazz from 1951 on, when he improvised with Dizzy Gillespie following a performance with the Chicago Symphony. Five years later, Gulda played his first American jazz concert at Birdland (N.Y.C.), followed by a performance at the Newport Jazz Festival. After this, Gulda formed the Eurojazz Orchestra, a jazz combo and big band which drew from both jazz and classical compositions. In 1966, ten years after his Birdland appearance, Gulda organized a modern jazz competition in his native city. He was awarded the Vienna Academy's Beethoven Ring in 1970, but later returned it to protest what he regarded as a constricting educational system. This only reinforced the public's perception of Gulda as an eccentric. This reputation was not helped when he abruptly called off major performances more than once. A 1988 incident occurred in reaction to objections to his program for a Salzburg music festival that included jazz musician Joe Zawinul; he made another last minute cancellation by faking his own death with a phony obituary only days before a scheduled performance of Mozart. On January 27, 2000, Friedrich Gulda died of an apparent heart attack in Vienna, the city of his birth. - Joslyn Layne
A must-have for collectors of sublime historical recordings, this release of Fournier and Gulda's 1960 recording is equally appropriate for listeners seeking their first recording of Beethoven's works for cello and piano. Fournier's commitment to the exploration of the Beethoven sonatas and variations is clear; he made three complete recordings of the works over the course of his career -- the first with Artur Schnabel in 1947, this one with Friedrich Gulda in 1960, and finally with pianist Wilhelm Kempff in 1965.
Here we are exposed to Fournier at the peak of his technical and interpretive skills. His performance is clean, flowing, and clearly articulates Beethoven's three distinct compositional periods. Although Fournier collaborated much more frequently with Kempff than Gulda, that is never apparent to the listener. The interplay between the two instruments is seemless and Gulda's sensitivity is readily evident in the perfect balance achieved throughout the collection. - Mike D. Brownell
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LP made by DGG (Deutsche Grammophon) Records, in Germany
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LP released in 1960 (November)
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LP is recorded in MONO
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Record Catalog Number: LPM 18 601
Beethoven // Pierre Fournier / Friedrich Gulda
LP Title -
Beethoven: Cellosonaten Op. 5 F-dur Nr. 1 und g-moll Nr. 2
Cello Sonatas Op. 5 in F Major and G Minor
Sonate In F Dur, Op. 5 No. 1
Sonate In G Moll, Op. 5 No. 2
Performers / Credits / Other Information -
• FACTORY SEALED
• Cello – Pierre Fournier
• Composed By – Ludwig van Beethoven
• Piano – Friedrich Gulda
CONDITION Details:
The LP jacket and LP vinyl are assumed to be in mint condition, as this item is FACTORY SEALED! No tears in the plastic outer bag and no cut out marks of any kind. A near perfect copy! This is your rare chance to own a vintage, mint record from 1960 - see pictures with this listing as they are of the actual item.
A Short Note About LP GRADING -
- Mint = Only used for sealed items.
- Near Mint = Virtually flawless in every way.
- Near Mint Minus = Item has some minor imperfections, some audible.
- Excellent = Item obviously played and enjoyed with some noise.
- Very Good Plus = Many more imperfections which are noticeable and obtrusive.
For best results, always thoroughly clean your LPs before playing them.
LPs can be audiophile quality pressings (any collector of fine MFSL, half speeds, direct to discs, Japanese/UK pressings etc., can attest to the difference a quality pressing can make to an audio system).
Don't let this rarity slip by!!!price rating
