Pierre Founier: "The Cellist's Hour" (13 encores - rec. 1957) - Angel 35599

$

40

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This handsome and justly famous LP from Angel Records (35599, LP pressed in England by EMI / jacket printed in the USA, red/silver Angel semi-circle label, mono – no stereo edition exists, original inner sleeve included) entitled “The Cellist’s Hour” features the great Pierre Fournier in a magical encores program, recorded during September and October 1957 at Studio No. 3, Abbey Road, London, with veteran pianist Gerald Moore.

This ranks with Michael Rabin’s “Mosaics” album, as well as Andre Navarra’s “Cello Colours” LP as among the great encore programs recorded by a string soloist – truly magical from first bar to last.

Included are the following works:

J.S. Bach (arr. Fournier): Recitativo, from the Organ Concerto no. 3 (after Antonio Vivaldi)

Franz Joseph Haydn (arr. Alfredo Piatti): Minuet, from the Sonata in C Major for Cello and Piano

Robert Schumann (arr. F.G. Montel): Abendlied (“Evening Song”), No. 12 from the piano duets Op. 85

Carl Maria von Weber (arr. Gregor Piatigorsky): Larghetto Rondo, from the Violin Sonata Op. 10 No. 3

Felix Mendelssohn: Lied ohne Worte in D Major Op. 109

Frederic Chopin: Introduction & Polonaise Brillante in C Major Op. 3

Rimsky-Korsakov (arr. Fritz Kreisler / Pierre Fournier): “Hymn to the Sun”, from The Golden Cockerel

Rimsky-Korsakov (arr. Joseph Strimer): Flight of the Bumblebee, from The Tale of Tsar Sultan Suite Op. 57

Camille Saint-Saëns: The Swan, from The Carnival of the Animals

Gabriel Fauré: Berceuse Op. 16

Enrique Granados (arr. Pierre Fournier): “La maja dolorosa”, No. 9 from Tonadillas el estilo antiguo

Enrique Granados (arr. Gaspar Cassado): Intermezzo, from Goyescas

Fritz Kreisler (arr. Pierre Fournier): La Gitana

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Wrote the critic R.F. in his review for the November 1958 issue of The Gramophone:

“Thirteen 'cello lollypops on one disc sounds too much of a good thing, but it isn't ; Fournier's skill and artistry are utterly disarming. His phrasing always shows complete penetration of the music, and he links one note to the next in the most golden way. His very high notes in The Hymn to the Sun have a precision which not all well-known violinists could equal. I suppose it is inevitable that many of the pieces should be arrangements of dubious musical value, but some of them are very effective.

“Few of us would pick on the 'cello as a suitable instrument for Rimsky's bumble-bee, but at least it has a more onomatopoeic quality than the more usual flute, and Fournier's performance has the hypnotic attraction of a trick cyclist on one wheel. Several of the items were actually written for the 'cello, and as one might expect, the French ones are especially good. Saint-Saëns's Swan is as graceful as one could wish, while the Fauré Berceuse, which will be new to many people, is almost worth the money on its own. The Mendelssohn Song without Words is another rare bird, well worth hearing.

“The Chopin Introduction and Polonaise is much the longest piece on the record. The Introduction is so beautiful that one suspects an undetected masterpiece, but, alas, the Polonaise itself is a poor thing, and no one will blame Fournier for taking over a good deal of the piano figuration towards the end in an attempt to liven things up. The quality on this disc is splendid and this beautifully played record should give a great deal of pleasure.”

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Incidentally, the striking typography and jacket design was executed by Atelier Cassandre, Paris. In addition, there is a small striking black and white portrait of Fournier on the rear panel that was taken by photographer Peter Robinson, Singapore. The fine liner notes on the reverse side of the jacket – provided in English only – were written by Frank Hampson.

This album was produced by Walter Jellinek and engineered by Arthur Clarke.

CONDITION – PLEASE READ CAREFULLY:

The gradations of condition I use are as follows: MINT, Near-Mint, Excellent, Very Good, Good, Fair, Poor.

The condition of jacket is near-MINT. Amazingly, the original shrinkwrap is mostly intact, only open at the leading edge. There is slight bumping at corners, but really that is all. There are no seamsplits, bends, owners’ markings, or other defects and the jacket remains solid, bright, and attractive – overall, this rates as a fine collector’s copy.

The condition of the LP is VERY GOOD+. Though there is occasional light surface noise and some "needle"-like sounds, in general the playback remains quite fine. There are no tics per se and no scratches, just light surface noise. However, if you must have a flawless or near-MINT copy, then please do not buy this LP. Overall, this rates as a very good collector's copy.

PLEASE NOTE:
This LP has been carefully cleaned using a VPI cleaning machine. All LPs are provided with a new Nagaoka (or Nagaoka-style) inner sleeve. The images I've provided are of the actual item you are potentially bidding on - these are not stock images or images I've taken from other sites. Bid with confidence!

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