Pierre Fournier,Friedrich Gulda – Beethoven: Complete Works for Cello and Piano (Remastered) (2006/2019) [FLAC 24bit, 192 kHz]

Pierre Fournier,Friedrich Gulda – Beethoven: Complete Works for Cello and Piano (Remastered) (2006/2019) [FLAC 24bit, 192 kHz]

It would be difficult to rank these three complete collections of Beethoven’s works for cello and piano, recorded by Pierre Fournier with three different partners, all distinguished Beethoven experts: Arthur Schnabel (1947-48), Friedrich Gulda (1959) and Wilhelm Kempff (1965). Fournier and Gulda are like fire and water. The French cellist provides guidance to the solitary and somewhat untameable Gulda, who himself admitted to having learned some discipline over the course of the recording, and kept a debt of gratitude for Fournier his whole life. The result is a tremendous show of mutual attention and a clarity of expression, without any pomposity or pretentiousness. – François Hudry

Géza Anda, Wolfgang Schneiderhan, Pierre Fournier, Janos Starker, Radio-Symphonie-Orchester Berlin, Ferenc Fricsay – Beethoven: Triple Concerto / Brahms: Double Concerto (1961/1962/2016) [FLAC 24bit, 96 kHz]

Géza Anda, Wolfgang Schneiderhan, Pierre Fournier, Janos Starker, Radio-Symphonie-Orchester Berlin, Ferenc Fricsay – Beethoven: Triple Concerto / Brahms: Double Concerto (1961/1962/2016) [FLAC 24bit, 96 kHz]

Fricsay conducts concertos by Beethoven and Brahms: Friendship is the connecting link between the two works here. Beethoven is thought to have written his Triple Concerto in 1803 – 04 for his favorite pupil, the Archduke Rudolph. Brahms composed his Double Concerto in 1887 as a peace offering, to heal a breach with his friend the violinist Joseph Joachim. It seems to have done the trick; and it was canny of Brahms, who conducted the first performance (Cologne, October 1887), to have the cellist of the Joachim Quartet, Robert Hausmann, sharing solo hon- ours – it would have been difficult for Brahms and Joachim to have a row with a third party present. I do not know how friendly the soloists on these two famous recordings were, but I recall what a strong “house style” manated from Deutsche Grammophon productions in the 1950s and early 1960s.

Pierre Fournier – Bach, J.S.: 6 Suites for Violoncello (1961/2016) [FLAC 24bit, 96 kHz]

Pierre Fournier – Bach, J.S.: 6 Suites for Violoncello (1961/2016) [FLAC 24bit, 96 kHz]

In Colette’s famous phrase, Pierre Fournier “sings better than anything that sings”. Nowhere is this truer than in his iconic recordings of the six Bach suites. The suites were so much part of him that on the afternoon before a concert he was heard asking which of them he was playing that evening.