Analogphonic Rendezvous Musical avec Pierre Fournier
Analogphonic Rendezvous Musical avec Pierre Fournier
  • Product Code: Analogphonic Rendezvous Musical avec Pierre Fournier
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  • 55.00€

Rendezvous Musical avec Pierre Fournier





  • Details
    Side 1
  • 1. Adagio Cantabile • Allegro Vivo (Francoeur)
  • 2. Tempo di Minuetto (Haydn)
  • 3. Larghetto • Rondo (Weber)
  • 4. Nocturne Op. 9 Nr. 2 (Chopin)
  • Side 2
  • 1. Hymne An Die Sonne (Rimski-Korssakoff)
  • 2. Hummelflug (Rimski-Korssakoff)
  • 3. Adagio Und Allegro Op. 70 (Schumann)
  • Side 3
  • 1. Ave Maria (Méditation) (Gounod)
  • 2. Valse Sentimentale Op. 51 Nr. 6 (Tschaikowsky)
  • 3. Feldeinsamkeit Op. 86 Nr. 2 (Brahms)
  • 4. Elfentanz Op. 39 (Popper)
  • 5. Rondo Op. 94 (Dvořák)
  • Side 4
  • 1. Der Schwan (Saint-Saëns)
  • 2. Variationen Über Ein Thema Aus Der Oper »Moses« (Paganini)
  • 3. Pezzo Cappriccioso op.62 (Tschaikowsky) - Bonus track (Previously Unreleased)

Title : Rendezvous Musical avec Pierre Fournier

Artist : Pierre Fournier (cello),

Lamar Crowson (Piano)


Cat No :LP43110

Label : DGG

Format : 2LP/Gatefold/45RPM

Barcode : 8808678161106


● From the original masters of Universal Music

● Audiophile analogue mastering by Rainer Maillard at Emil Berliner Studios.

● 180g audiophile virgin vinyl pressed by Pallas GmbH in Germany

● 45 rpm / 2 records version for enhanced sound reproduction

● Special bonus track included—Unreleased recording from same session.


RECORDING INFORMATION

Recorded at München Plenar-Saal der Akademie der Wissenschaften 8-10, Jan, 1969

Producer : Karl Faust

Ton-Meister : H Wildhagen

Edit :H. Reiser


Fournier’s tone is a constant delight, warmly lyrical yet with a plangent edge that does wonders for the more pleading episodes of Dvořak’s Rondo — a work written for the cello, and making the fact very clear.

His phrasing is beautifully shapely in cantabile. And when scurrying around in Francoeur’s Allegro vivo, Rimsky-Korsakov’s Bumble-bee and Pop-per’s Elfentanz, he brings a bite to the accentuation which keeps the

rhythm both tingling and disciplined. The Weber is a pleasant surprise, but I particularly enjoyed the Dvořak, the Schumann (meant for the horn but with cello as an op-tional alternative) and the Brahms...

Brhams’s particular brand of deep-hued sentiment is wholly at one with the soul of the cello. – Gramophone

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