Album available // Beethoven: The Cello Sonatas and Variations Pierre Fournier 🎧 Qobuz cutt.ly/weJxtpSA Tidal cutt.ly/leJxtm3U 🎧 Apple Music cutt.ly/neJxtKk3 Deezer cutt.ly/ieJxt7rq 🎧 Amazon Music cutt.ly/FeJxi6ky Spotify cutt.ly/OeJxof1f 🎧 TH-cam Music cutt.ly/OeJxoVTW SoundCloud cutt.ly/YeJxomXc 🎧 Pandora, Anghami, QQ音乐, LineMusic 日本… Ludwig Van Beethoven (1770-1827) Complete Cello Sonatas & Variations. *Click to activate the English subtitles for the presentation* (00:00-04:00) 00:00 Cello Sonata No.1 in F Major, Op.5 No.1 - I. Adagio sostenuto, Allegro 14:45 Cello Sonata No.1 in F Major, Op.5 No.1 - II. Rondo, Allegro vivace 21:39 Cello Sonata No.2 in G minor, Op.5 No.2 - I. Adagio sostenuto e espressivo, Allegro molto, più tosto presto 33:57 Cello Sonata No.2 in G minor, Op.5 No.2 - II. Rondo, Allegro 42:56 Cello Sonata No.3 in A Major, Op.69 - I. Allegro ma non tanto 55:53 Cello Sonata No.3 in A Major, Op.69 - II. Scherzo, Allegro molto 1:01:14 Cello Sonata No.3 in A Major, Op.69 - III. Adagio cantabile, Allegro vivace 1:09:52 Cello Sonata No.4 in C Major, Op.102 No.1 - I. Andante, Allegro vivace 1:18:22 Cello Sonata No.4 in C Major, Op.102 No.1 - II.Adagio, Tempo andante, allegro vivace 1:25:26 Cello Sonata No.5 in D Major, Op.102 No.2 - I. Allegro con brio 1:31:55 Cello Sonata No.5 in D Major, Op.102 No.2 - II. Adagio con molto sentimento d’affetto 1:41:10 Cello Sonata No.5 in D Major, Op.102 No.2 - III. Allegro, Allegro fugato 7 Variations on ‘’Bei Männern welche Liebe fühlen’’, WoO 46 (From Mozart’s Die Zauberflöte) 1:45:42 WoO 46 (From Mozart’s Die Zauberflöte) - Thema, Andante 1:46:40 WoO 46 (From Mozart’s Die Zauberflöte) - Variation I 1:47:25 WoO 46 (From Mozart’s Die Zauberflöte) - Variation II 1:48:11 WoO 46 (From Mozart’s Die Zauberflöte) - Variation III 1:49:09 WoO 46 (From Mozart’s Die Zauberflöte) - Variation IV 1:50:22 WoO 46 (From Mozart’s Die Zauberflöte) - Variation V, Si prenda il tempo un poco più vivace 1:50:58 WoO 46 (From Mozart’s Die Zauberflöte) - Variation VI, Adagio 1:53:08 WoO 46 (From Mozart’s Die Zauberflöte) - Variation VII, Allegro ma non troppo, Coda 12 Variations on ‘’Ein Mädchen Oder Weibchen’’, Op. 66 (From Mozart’s Die Zauberflöte) 1:55:05 Op. 66 (From Mozart’s Die Zauberflöte) - Thema, Allegretto 1:55:40 Op. 66 (From Mozart’s Die Zauberflöte) - Variation I 1:56:19 Op. 66 (From Mozart’s Die Zauberflöte) - Variation II 1:56:55 Op. 66 (From Mozart’s Die Zauberflöte) - Variation III 1:57:28 Op. 66 (From Mozart’s Die Zauberflöte) - Variation IV 1:58:08 Op. 66 (From Mozart’s Die Zauberflöte) - Variation V 1:58:43 Op. 66 (From Mozart’s Die Zauberflöte) - Variation VI 1:59:13 Op. 66 (From Mozart’s Die Zauberflöte) - Variation VII 2:00:00 Op. 66 (From Mozart’s Die Zauberflöte) - Variation VIII 2:00:34 Op. 66 (From Mozart’s Die Zauberflöte) - Variation IX 2:01:13 Op. 66 (From Mozart’s Die Zauberflöte) - Variation X, Adagio 2:02:46 Op. 66 (From Mozart’s Die Zauberflöte) - Variation XI, Poco Adagio quasi Andante 2:04:09 Op. 66 (From Mozart’s Die Zauberflöte) - Variation XII, Allegro 12 Variations on ‘’See the Conquering Hero Comes’’, WoO 45 (From Handel’s Judas Maccabeus) 2:06:01 WoO 45 (From Handel’s Judas Maccabeus) - Thema, Allegretto 2:06:48 WoO 45 (From Handel’s Judas Maccabeus) - Variation I 2:07:32 WoO 45 (From Handel’s Judas Maccabeus) - Variation II 2:08:17 WoO 45 (From Handel’s Judas Maccabeus) - Variation III 2:09:00 WoO 45 (From Handel’s Judas Maccabeus) - Variation IV 2:09:47 WoO 45 (From Handel’s Judas Maccabeus) - Variation V 2:10:38 WoO 45 (From Handel’s Judas Maccabeus) - Variation VI 2:11:22 WoO 45 (From Handel’s Judas Maccabeus) - Variation VII 2:11:56 WoO 45 (From Handel’s Judas Maccabeus) - Variation VIII 2:12:42 WoO 45 (From Handel’s Judas Maccabeus) - Variation IX 2:13:25 WoO 45 (From Handel’s Judas Maccabeus) - Variation X, Allegro 2:14:06 WoO 45 (From Handel’s Judas Maccabeus) - Variation XI, Adagio 2:17:36 WoO 45 (From Handel’s Judas Maccabeus) - Variation XII, Allegro Cello: Pierre Fournier Piano: Friedrich Gulda 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr The really surprising thing about this chambermusic partnership, documented here in the form of their recordings of Beethoven's complete output for cello and piano, is that it ever existed at all. The duo formed by the Austrian pianist Friedrich Gulda (born 1930) and the French cellist Pierre Fournier (1906-1986) does not resemble in any way the usual notions of what such a duo might be expected to look like. Furthermore the two musicians were separated by a generation. Any ambiguity in Gulda's remark about Fournier's effect on him is easily cleared up. As he said himself: "He was the more seasoned, and my superior. I owe him a great deal. I learnt a huge amount from him, musically, about taking things seriously, and he guided me, kindly but also very strenuously." Of no other musician does Gulda speak with so much respect, affection and warmth as Pierre Fournier (and his wife Lydia). At times, at least, the partnership must have had something of a father-son relationship. Gulda, who never loses a chance to cultivate his nonconformism, admits that the Fourniers were the first people to teach him some manners, such as pressing his tailcoat, not shooting his mouth, and shaving before going on the platform. "It's not unimportant for someone as young as that to discover that behaving barbarously is not the only way of getting on in life or on the stage, in other words that one should play with good manners, with refinement." Psychologists may care to ponder whether the range of things in which Fournier acted as mentor has anything to do with the fact that Gulda's father also played the cello, though as an amateur, and was the budding pianist's first duet partner. These recordings demonstrate with almost too much clarity one of the qualities of Fournier's style as cellist and as musician in general: discretion. Gulda, for his part, alleviates his disadvantage with an uncommonly lucid, analytically enlightened style of playing, without allowing the arcs of thematic tension to slacken. Unlikely as the partnership of Fournier and Gulda may have looked at first glance, therefore, it proved to be an early instance of that embrace of French clarté and German analytic probing which has characterized a whole series of performances in the last three decades.. *Click to activate the English subtitles for the presentation* (00:00-04:00) Beethoven - Complete Violin Sonatas / NEW MASTERING (Century’s rec.: Clara Haskil, Arthur Grumiaux): th-cam.com/video/7If07fn6p2Y/w-d-xo.html Ludwig Van Beethoven PLAYLIST (reference recordings): th-cam.com/video/WUYeYsLMLus/w-d-xo.html
Beethoven cello sonatas and Bach's Unacompanied cello suites (by Fournier, of course) are two of my most precious 'digital' possessions. Any analog recording could not have survived my repeated, quite frequent, playing of these two over sixty years. I have the same numbers played by several others, but none matches what Fournier provides to up or soothe my spirit when I am down. Thank you (and others) for sharing precious classical collections on the web. You collectively deserve a Nobel prize.
Yoyo Ma said much the same about Bach’s Cello suite based on feedback from his fans over his career. I am indebted to whoever posted this recording for introducing me to Fournier’s rendition. It’s my new favourite. That said, Rostropovich also doesn’t disappoint.
This set is my favorite for cello-piano sonata. I have practically all versions (Fournier-Gulda, Yo-yo Ma-Ax, Casals-Serkin, Harrell-Ashkenazy, Rostropovich-Richter, Du pre-Barenboim, Maisky-Argerich, Perenyi-Schiff, Bylsma-Bilson, Bylsma-Immerseel, Wispelwey-Lazic, Wispelwey-Komen and Phillips-Francois Frederic Guy). Each has its own merit. But I always go back to the Fournier-Gulda recording.
Wunderschöne und detaillierte Interpretation dieser fein oder perfekt komponierten Sonaten und Variationen in verschiedenen Tempi mit tiefem doch gut phrasiertem Ton des unvergleichlichen Violoncellos und klarem doch zugleich anmutigem Klang des ebenso unvergleichlichen Klaviers. Die intime und perfekt entsprechende Dialog zwischen den beiden Virtuosen ist wahrlich ergreifend. Alles ist wunderbar!
The really surprising thing about this chambermusic partnership, documented here in the form of their recordings of Beethoven's complete output for cello and piano, is that it ever existed at all. The duo formed by the Austrian pianist Friedrich Gulda (born 1930) and the French cellist Pierre Fournier (1906-1986) does not resemble in any way the usual notions of what such a duo might be expected to look like. Furthermore the two musicians were separated by a generation. Any ambiguity in Gulda's remark about Fournier's effect on him is easily cleared up. As he said himself: "He was the more seasoned, and my superior. I owe him a great deal. I learnt a huge amount from him, musically, about taking things seriously, and he guided me, kindly but also very strenuously." Of no other musician does Gulda speak with so much respect, affection and warmth as Pierre Fournier (and his wife Lydia). At times, at least, the partnership must have had something of a father-son relationship. Gulda, who never loses a chance to cultivate his nonconformism, admits that the Fourniers were the first people to teach him some manners, such as pressing his tailcoat, not shooting his mouth, and shaving before going on the platform. "It's not unimportant for someone as young as that to discover that behaving barbarously is not the only way of getting on in life or on the stage, in other words that one should play with good manners, with refinement." Psychologists may care to ponder whether the range of things in which Fournier acted as mentor has anything to do with the fact that Gulda's father also played the cello, though as an amateur, and was the budding pianist's first duet partner. These recordings demonstrate with almost too much clarity one of the qualities of Fournier's style as cellist and as musician in general: discretion. Gulda, for his part, alleviates his disadvantage with an uncommonly lucid, analytically enlightened style of playing, without allowing the arcs of thematic tension to slacken. Unlikely as the partnership of Fournier and Gulda may have looked at first glance, therefore, it proved to be an early instance of that embrace of French clarté and German analytic probing which has characterized a whole series of performances in the last three decades.. *Click to activate the English subtitles for the presentation* (00:00-04:00) 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr
Yes. As a parallel, there comes to my mind the prominence of the two French brothers Duport (Jean-P. & Jean-L.), at the time of the first of these works being conceived - potentially either having joined Beethoven in presenting the first performances of the two works of Op. 5 ...
Carried away by listening to these 2 Virtuosi playing Beethoven The Cello Sonatas and Variations. So breathtakingly lovely that quite literally hold me spellbound. Thank you for the notification.
¿What is most beautiful? ¿The wonderful piano or The stunning cello? I dont know, but Beethoven must to hear them from the heavens. Thanks to this channel and, of course to TH-cam♥️to brings us this immortal music.
Classical Music/ /Reference Recording has done it again. This is absolutely fascinating. Compare this with the fine recording by Rostropovich - in the latter one gets a lot of Rostropovich and some Beethoven, whereas here one gets a lot of Beethoven and some Fournier. Thought-provoking playing and Gulda is really first rate. Many thanks for the upload.
Oh, what a great music which great Beethoven must have created without any help from anyone and without having any facility for recording, reviewing ( hearing,I read somewhere that he was blind or deaf), improving, etc! I am always grateful to Beethoven for blossoming my mind irrespective of the circumstances. Absolute gratefulness from a beneficiary of Beethoven's benevolence through his enchanting music!
Wonderful! It's unbelievable that such things exist - somewhere on our planet and yet, just around the corner, now even being reachable, simply, through a few clicks with the mouse.
The Universe composed these masterpieces at the beginning of time and Beethoven's genius snatched them out of the infinite and noted them down for us to gasp at. The 3rd seems especially inevitable. The sound here is so crisp, the performance perfect. Thank you!
"The Universe composed these masterpieces" No, Beethoven did. He achieved his work by using his talent and working laboriously. You sound like he just effortless picked some fruits hanging of a tree. This is insulting to the creative genius of mankind.
@@HansDunkelberg1 Beethoven created his music from nothing, without any special help from the universe ( aside from the help common to all humans) otherwise we all could have composed music of the quality as composed by Beethoven.When you say that the universe composed the music of Beethoven you are slighting his creativity - beyond compare, considering the disadvantages he had.
The Universe committed the Cambodian g*n*c*de at the beginning of time and Pol-Pot's evil just snatched it out of the infinity and put it in practice for us to be horrified at. Same statement, basically.
Merci pour cette écoute. Incroyable et merveilleux Pierre Fournier. Mais la prise de son met le piano sensiblement au premier plan et crée un certain déséquilibre.
Just listen, intently, at the few opening bars (at least till minute 3:13), and you'll be hooked for the next two hours and, possibly, for an entire lifetime.
Wittgenstein, the philosopher, whose brother was a great pianist, (Ravel wrote the concerto for the left hand for him after he lost the right one in the war) says that Beethoven and Schubert were the last composers never to have heard the sound of machinery. I think this is important in appreciating their music. Wittgenstein even detects machinery in Brahms... Probably true.
From Wikipedia: Pierre Léon Marie Fournier (24 June 1906 - 8 January 1986) was a French cellist. born in Paris, the son of a French Army general. His mother taught him to play the piano, but he had a mild case of polio as a child and lost dexterity in his feet and legs. Having difficulties with the piano pedals, he turned to the cello. From Wikipedia: Friedrich Gulda (16 May 1930 - 27 January 2000) was an Austrian pianist and composer who worked in both the classical and jazz fields. Born in Vienna the son of a teacher, Gulda began learning to play the piano at age 7 with Felix Pazofsky at the Wiener Volkskonservatorium. In 1942, he entered the Vienna Music Academy, where he studied piano and musical theory under Bruno Seidlhofer and Joseph Marx.
Fournier has a personal but quite classical vision of these duo sonatas - the first important in the music story (forgetting the baroque sonatas for cello). Hear for instance his previous vision with Kempff. On the opposite, Gulda has a rather specific vision of his own. It i amazing to hear haw they find a revisited equilibrium, perfectly clear and convincing, . making a perfect synergy between these two visions. It is what this music asked for, form th 'fisst' (op. 5) to the last (op. 102) periods, ot forgetting the so outstanding 'second style' op. 69. Richter/Rostropovich is quite another story.. There is stylistic choice to be made. It is mainy YOUR sensitivity matter. Don't get any without having heard the two ones !!!!!
I had rather dismissed the Beethoven cello sonatas (greatly preferring the two by Brahms) until I heard this recording, where they are revealed as true masterpieces.
Beethoven just hits home off the bat. I know many prefer Brahms but I am much more selective on his works and don't find his cello as compelling as Beethoven's.
@@luismg2130 maybe, Brahms has grown on me more including his cello sonatas. I think Brahms requires many listens to connect the complex emotions and start to unravel the compositions which often feel restless and difficult to grasp at first.
@@fieldHunter61 Yeah, I guess I'm attuned to what Brahms' music conveys and it's not a challenge for me. To each their own. I don't get Mozart for example, so you might think I'm crazy. There are some of his compositions I love, but most of them bore me.
I love this team performance and I like the 4th and fifth Beethoven Cello Sonatas the most. But am closer to what Gulda's pupil, Martha Argerich recorded with Misha Maisky. For me it is perhaps the better rendition of these Beethoven works. Maybe this is so because Argerich is the first account I heard of these Sonatas. But of course, what Gulda and Fournier recorded together is impressively good, having the production a very good quality. I would recommend both accounts equally. Maybe the Fournier outlook is a more distant approach than that of Maisky, which always sounded sweeter or more romantic to me. They really compete one with the other and it depends on which are your likings in Classical music. 🎵🎶💎🤗❤️👍
🙏🏽🧡 .I am praying for everyone who needs a Miracle. Only God can do the impossible, He can make a way when there seems to be no way. Today I pray God touches your health, your home, your family, your faith, and your finances. God bless you Amen!
Zum Titel des Videos: Beethoven schrieb "Sonaten für Klavier und Violoncello"! (auch Klavier und Violine), hier also falsch als "Cellosonaten" betitelt.
I believe you can transform these sonatas to piano concertos. Just keep the pianos script and have to work hard using cellos script to change it to orchestra. Demands a lot of work and talent but 70% of the works is already done.
Album available // Beethoven: The Cello Sonatas and Variations Pierre Fournier
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Ludwig Van Beethoven (1770-1827) Complete Cello Sonatas & Variations.
*Click to activate the English subtitles for the presentation* (00:00-04:00)
00:00 Cello Sonata No.1 in F Major, Op.5 No.1 - I. Adagio sostenuto, Allegro
14:45 Cello Sonata No.1 in F Major, Op.5 No.1 - II. Rondo, Allegro vivace
21:39 Cello Sonata No.2 in G minor, Op.5 No.2 - I. Adagio sostenuto e espressivo, Allegro molto, più tosto presto
33:57 Cello Sonata No.2 in G minor, Op.5 No.2 - II. Rondo, Allegro
42:56 Cello Sonata No.3 in A Major, Op.69 - I. Allegro ma non tanto
55:53 Cello Sonata No.3 in A Major, Op.69 - II. Scherzo, Allegro molto
1:01:14 Cello Sonata No.3 in A Major, Op.69 - III. Adagio cantabile, Allegro vivace
1:09:52 Cello Sonata No.4 in C Major, Op.102 No.1 - I. Andante, Allegro vivace
1:18:22 Cello Sonata No.4 in C Major, Op.102 No.1 - II.Adagio, Tempo andante, allegro vivace
1:25:26 Cello Sonata No.5 in D Major, Op.102 No.2 - I. Allegro con brio
1:31:55 Cello Sonata No.5 in D Major, Op.102 No.2 - II. Adagio con molto sentimento d’affetto
1:41:10 Cello Sonata No.5 in D Major, Op.102 No.2 - III. Allegro, Allegro fugato
7 Variations on ‘’Bei Männern welche Liebe fühlen’’, WoO 46 (From Mozart’s Die Zauberflöte)
1:45:42 WoO 46 (From Mozart’s Die Zauberflöte) - Thema, Andante
1:46:40 WoO 46 (From Mozart’s Die Zauberflöte) - Variation I
1:47:25 WoO 46 (From Mozart’s Die Zauberflöte) - Variation II
1:48:11 WoO 46 (From Mozart’s Die Zauberflöte) - Variation III
1:49:09 WoO 46 (From Mozart’s Die Zauberflöte) - Variation IV
1:50:22 WoO 46 (From Mozart’s Die Zauberflöte) - Variation V, Si prenda il tempo un poco più vivace
1:50:58 WoO 46 (From Mozart’s Die Zauberflöte) - Variation VI, Adagio
1:53:08 WoO 46 (From Mozart’s Die Zauberflöte) - Variation VII, Allegro ma non troppo, Coda
12 Variations on ‘’Ein Mädchen Oder Weibchen’’, Op. 66 (From Mozart’s Die Zauberflöte)
1:55:05 Op. 66 (From Mozart’s Die Zauberflöte) - Thema, Allegretto
1:55:40 Op. 66 (From Mozart’s Die Zauberflöte) - Variation I
1:56:19 Op. 66 (From Mozart’s Die Zauberflöte) - Variation II
1:56:55 Op. 66 (From Mozart’s Die Zauberflöte) - Variation III
1:57:28 Op. 66 (From Mozart’s Die Zauberflöte) - Variation IV
1:58:08 Op. 66 (From Mozart’s Die Zauberflöte) - Variation V
1:58:43 Op. 66 (From Mozart’s Die Zauberflöte) - Variation VI
1:59:13 Op. 66 (From Mozart’s Die Zauberflöte) - Variation VII
2:00:00 Op. 66 (From Mozart’s Die Zauberflöte) - Variation VIII
2:00:34 Op. 66 (From Mozart’s Die Zauberflöte) - Variation IX
2:01:13 Op. 66 (From Mozart’s Die Zauberflöte) - Variation X, Adagio
2:02:46 Op. 66 (From Mozart’s Die Zauberflöte) - Variation XI, Poco Adagio quasi Andante
2:04:09 Op. 66 (From Mozart’s Die Zauberflöte) - Variation XII, Allegro
12 Variations on ‘’See the Conquering Hero Comes’’, WoO 45 (From Handel’s Judas Maccabeus)
2:06:01 WoO 45 (From Handel’s Judas Maccabeus) - Thema, Allegretto
2:06:48 WoO 45 (From Handel’s Judas Maccabeus) - Variation I
2:07:32 WoO 45 (From Handel’s Judas Maccabeus) - Variation II
2:08:17 WoO 45 (From Handel’s Judas Maccabeus) - Variation III
2:09:00 WoO 45 (From Handel’s Judas Maccabeus) - Variation IV
2:09:47 WoO 45 (From Handel’s Judas Maccabeus) - Variation V
2:10:38 WoO 45 (From Handel’s Judas Maccabeus) - Variation VI
2:11:22 WoO 45 (From Handel’s Judas Maccabeus) - Variation VII
2:11:56 WoO 45 (From Handel’s Judas Maccabeus) - Variation VIII
2:12:42 WoO 45 (From Handel’s Judas Maccabeus) - Variation IX
2:13:25 WoO 45 (From Handel’s Judas Maccabeus) - Variation X, Allegro
2:14:06 WoO 45 (From Handel’s Judas Maccabeus) - Variation XI, Adagio
2:17:36 WoO 45 (From Handel’s Judas Maccabeus) - Variation XII, Allegro
Cello: Pierre Fournier
Piano: Friedrich Gulda
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2
❤️ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
The really surprising thing about this chambermusic partnership, documented here in the form of their recordings of Beethoven's complete output for cello and piano, is that it ever existed at all. The duo formed by the Austrian pianist Friedrich Gulda (born 1930) and the French cellist Pierre Fournier (1906-1986) does not resemble in any way the usual notions of what such a duo might be expected to look like. Furthermore the two musicians were separated by a generation. Any ambiguity in Gulda's remark about Fournier's effect on him is easily cleared up. As he said himself: "He was the more seasoned, and my superior. I owe him a great deal. I learnt a huge amount from him, musically, about taking things seriously, and he guided me, kindly but also very strenuously." Of no other musician does Gulda speak with so much respect, affection and warmth as Pierre Fournier (and his wife Lydia).
At times, at least, the partnership must have had something of a father-son relationship. Gulda, who never loses a chance to cultivate his nonconformism, admits that the Fourniers were the first people to teach him some manners, such as pressing his tailcoat, not shooting his mouth, and shaving before going on the platform. "It's not unimportant for someone as young as that to discover that behaving barbarously is not the only way of getting on in life or on the stage, in other words that one should play with good manners, with refinement." Psychologists may care to ponder whether the range of things in which Fournier acted as mentor has anything to do with the fact that Gulda's father also played the cello, though as an amateur, and was the budding pianist's first duet partner.
These recordings demonstrate with almost too much clarity one of the qualities of Fournier's style as cellist and as musician in general: discretion. Gulda, for his part, alleviates his disadvantage with an uncommonly lucid, analytically enlightened style of playing, without allowing the arcs of thematic tension to slacken. Unlikely as the partnership of Fournier and Gulda may have looked at first glance, therefore, it proved to be an early instance of that embrace of French clarté and German analytic probing which has characterized a whole series of performances in the last three decades.. *Click to activate the English subtitles for the presentation* (00:00-04:00)
Beethoven - Complete Violin Sonatas / NEW MASTERING (Century’s rec.: Clara Haskil, Arthur Grumiaux): th-cam.com/video/7If07fn6p2Y/w-d-xo.html
Ludwig Van Beethoven PLAYLIST (reference recordings): th-cam.com/video/WUYeYsLMLus/w-d-xo.html
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Spent this warm afternoon with someone who lived for his art, the art that bring us peace and hope
Beethoven cello sonatas and Bach's Unacompanied cello suites (by Fournier, of course) are two of my most precious 'digital' possessions. Any analog recording could not have survived my repeated, quite frequent, playing of these two over sixty years. I have the same numbers played by several others, but none matches what Fournier provides to up or soothe my spirit when I am down. Thank you (and others) for sharing precious classical collections on the web. You collectively deserve a Nobel prize.
🌟😎🌟😎🌟😎🌟
Yoyo Ma said much the same about Bach’s Cello suite based on feedback from his fans over his career. I am indebted to whoever posted this recording for introducing me to Fournier’s rendition. It’s my new favourite. That said, Rostropovich also doesn’t disappoint.
A piece of Heaven in my room... AMAZING.
Listening to this beautiful recording by the fireside on a cold snowy evening is all I wish for. Thank you for giving us the opportunity.
My Great Great Great Grand Teacher Ludwig Van Beethoven !
This set is my favorite for cello-piano sonata. I have practically all versions (Fournier-Gulda, Yo-yo Ma-Ax, Casals-Serkin, Harrell-Ashkenazy, Rostropovich-Richter, Du pre-Barenboim, Maisky-Argerich, Perenyi-Schiff, Bylsma-Bilson, Bylsma-Immerseel, Wispelwey-Lazic, Wispelwey-Komen and Phillips-Francois Frederic Guy). Each has its own merit. But I always go back to the Fournier-Gulda recording.
Wunderschöne und detaillierte Interpretation dieser fein oder perfekt komponierten Sonaten und Variationen in verschiedenen Tempi mit tiefem doch gut phrasiertem Ton des unvergleichlichen Violoncellos und klarem doch zugleich anmutigem Klang des ebenso unvergleichlichen Klaviers. Die intime und perfekt entsprechende Dialog zwischen den beiden Virtuosen ist wahrlich ergreifend. Alles ist wunderbar!
The really surprising thing about this chambermusic partnership, documented here in the form of their recordings of Beethoven's complete output for cello and piano, is that it ever existed at all. The duo formed by the Austrian pianist Friedrich Gulda (born 1930) and the French cellist Pierre Fournier (1906-1986) does not resemble in any way the usual notions of what such a duo might be expected to look like. Furthermore the two musicians were separated by a generation. Any ambiguity in Gulda's remark about Fournier's effect on him is easily cleared up. As he said himself: "He was the more seasoned, and my superior. I owe him a great deal. I learnt a huge amount from him, musically, about taking things seriously, and he guided me, kindly but also very strenuously." Of no other musician does Gulda speak with so much respect, affection and warmth as Pierre Fournier (and his wife Lydia).
At times, at least, the partnership must have had something of a father-son relationship. Gulda, who never loses a chance to cultivate his nonconformism, admits that the Fourniers were the first people to teach him some manners, such as pressing his tailcoat, not shooting his mouth, and shaving before going on the platform. "It's not unimportant for someone as young as that to discover that behaving barbarously is not the only way of getting on in life or on the stage, in other words that one should play with good manners, with refinement." Psychologists may care to ponder whether the range of things in which Fournier acted as mentor has anything to do with the fact that Gulda's father also played the cello, though as an amateur, and was the budding pianist's first duet partner.
These recordings demonstrate with almost too much clarity one of the qualities of Fournier's style as cellist and as musician in general: discretion. Gulda, for his part, alleviates his disadvantage with an uncommonly lucid, analytically enlightened style of playing, without allowing the arcs of thematic tension to slacken. Unlikely as the partnership of Fournier and Gulda may have looked at first glance, therefore, it proved to be an early instance of that embrace of French clarté and German analytic probing which has characterized a whole series of performances in the last three decades.. *Click to activate the English subtitles for the presentation* (00:00-04:00)
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Yes. As a parallel, there comes to my mind the prominence of the two French brothers Duport (Jean-P. & Jean-L.), at the time of the first of these works being conceived - potentially either having joined Beethoven in presenting the first performances of the two works of Op. 5 ...
Beethoven always amazing. What a genious!
The music and the performance are very very humbling.
Carried away by listening to these 2 Virtuosi playing Beethoven The Cello Sonatas and Variations. So breathtakingly lovely that quite literally hold me spellbound. Thank you for the notification.
¿What is most beautiful? ¿The wonderful piano or The stunning cello? I dont know, but Beethoven must to hear them from the heavens. Thanks to this channel and, of course to TH-cam♥️to brings us this immortal music.
Beethoven had a very productive inner ear - as well as a top 10 intelligence!
This is bliss. I own this recording and have played it many, many times. And here I am checking the sound quality. Very good. This is bliss.
Attraction of this wonderful performance is immeasurable and profound and beyond description and can't be ovetstated
Brillante interprétation, pleine de virtuosité et d'ingégnosité, de cette magnifique sonate .
J'ajouterais d'équilibre dans l(énonciation.
Classical Music/ /Reference Recording has done it again. This is absolutely fascinating. Compare this with the fine recording by Rostropovich - in the latter one gets a lot of Rostropovich and some Beethoven, whereas here one gets a lot of Beethoven and some Fournier. Thought-provoking playing and Gulda is really first rate. Many thanks for the upload.
Extraordinary precious recording of Beethoven's sublime work! How grateful I am to you for this unique uploading!
아름다운 연주곡 잘 들었습니다~감사합니다~🎵🎻🎹🌿🍀☘🌹🌹☘🍀🌿❤❤수고 많으셨습니다~☕
Oh, what a great music which great Beethoven must have created without any help from anyone and without having any facility for recording, reviewing ( hearing,I read somewhere that he was blind or deaf), improving, etc! I am always grateful to Beethoven for blossoming my mind irrespective of the circumstances. Absolute gratefulness from a beneficiary of Beethoven's benevolence through his enchanting music!
Nice to see a review from another Indian. 😊
@@NagarajanVasudevaRao61 Thanks.I worked in Hyderabad till this August, for almost seven years.
Buenas! Una auténtica JOYA MUSICAL CLÁSICA. Gracias
@nicolasliranzo509 -- BRAVI ad ENTRAMBI.....desde Acapulco!
軽やかでみずみずしいく高雅。名盤のリマスタリングで音も綺麗になった。
Wonderful! It's unbelievable that such things exist - somewhere on our planet and yet, just around the corner, now even being reachable, simply, through a few clicks with the mouse.
Unreachable in that too easy way...
@@jean-christopheMiquel-ef3ur Good observation! The possibility alone won't suffice, especially if it is too simple to _be_ believed.
Danke, das hat großen Spass gemacht … 😉
LOVE BEETHOVEN......;)
thank you so very much.
인생은 짧고 예술은 길다 귀한 음원에 깊은 감사드립니다
This is a must!
The Universe composed these masterpieces at the beginning of time and Beethoven's genius snatched them out of the infinite and noted them down for us to gasp at. The 3rd seems especially inevitable. The sound here is so crisp, the performance perfect. Thank you!
"The Universe composed these masterpieces"
No, Beethoven did. He achieved his work by using his talent and working laboriously. You sound like he just effortless picked some fruits hanging of a tree. This is insulting to the creative genius of mankind.
@@Sams.Videos Why? Just identify Beethoven, as a representative of mankind and its creative genius, with the universe!
@@HansDunkelberg1 Beethoven created his music from nothing, without any special help from the universe ( aside from the help common to all humans) otherwise we all could have composed music of the quality as composed by Beethoven.When you say that the universe composed the music of Beethoven you are slighting his creativity - beyond compare, considering the disadvantages he had.
@@jayakumarkaarikuzhy4713 Wow, you seem to adore him quite much. Great idea!
The Universe committed the Cambodian g*n*c*de at the beginning of time and Pol-Pot's evil just snatched it out of the infinity and put it in practice for us to be horrified at. Same statement, basically.
Bravo, bravo, bravo...
الاشي اللي خلاني ادرس فيزيا وكيميا واحياء ورياضيات كلهم بيوم واحد بدون ملل بجد شكرا وطبعا مع كمية احساس مش طبيعي ✨✨
Merci pour cette écoute.
Incroyable et merveilleux Pierre Fournier.
Mais la prise de son met le piano sensiblement au premier plan et crée un certain déséquilibre.
I disagree- just got here from another rendition where the cello was way too loud!
FANTASTISCH
Just listen, intently, at the few opening bars (at least till minute 3:13), and you'll be hooked for the next two hours and, possibly, for an entire lifetime.
Great performance, one of my two favourites, the other one is Rostropovich richter, the sound quality of the remaster is first rate
Ahh Wonderful stuff!..I just love living in our occidental world filled with music, art and philosophy!
Totally agree. As much as western civilization is maligned these days, many of the highlights of humanity belong here.
thank you
BRAVO !
I am so happy when listening the music.
Excellent!
Really nice!
Thank you SIR!!
Un gran maestro
Wittgenstein, the philosopher, whose brother was a great pianist, (Ravel wrote the concerto for the left hand for him after he lost the right one in the war) says that Beethoven and Schubert were the last composers never to have heard the sound of machinery. I think this is important in appreciating their music. Wittgenstein even detects machinery in Brahms... Probably true.
From Wikipedia: Pierre Léon Marie Fournier (24 June 1906 - 8 January 1986) was a French cellist. born in Paris, the son of a French Army general. His mother taught him to play the piano, but he had a mild case of polio as a child and lost dexterity in his feet and legs. Having difficulties with the piano pedals, he turned to the cello.
From Wikipedia: Friedrich Gulda (16 May 1930 - 27 January 2000) was an Austrian pianist and composer who worked in both the classical and jazz fields. Born in Vienna the son of a teacher, Gulda began learning to play the piano at age 7 with Felix Pazofsky at the Wiener Volkskonservatorium. In 1942, he entered the Vienna Music Academy, where he studied piano and musical theory under Bruno Seidlhofer and Joseph Marx.
I didn't know that l liked The Cello but l have enjoyed this recording playing Beethoven ❤
Fournier has a personal but quite classical vision of these duo sonatas - the first important in the music story (forgetting the baroque sonatas for cello). Hear for instance his previous vision with Kempff. On the opposite, Gulda has a rather specific vision of his own. It i amazing to hear haw they find a revisited equilibrium, perfectly clear and convincing, . making a perfect synergy between these two visions. It is what this music asked for, form th 'fisst' (op. 5) to the last (op. 102) periods, ot forgetting the so outstanding 'second style' op. 69. Richter/Rostropovich is quite another story.. There is stylistic choice to be made. It is mainy YOUR sensitivity matter. Don't get any without having heard the two ones !!!!!
Can you explain for a classical amateur, "the first important in the music story"?
I had rather dismissed the Beethoven cello sonatas (greatly preferring the two by Brahms) until I heard this recording, where they are revealed as true masterpieces.
Brahms piano quintet and Beethoven's 1st cello sonata were the pieces that made me love and begin to explore classical music.
Beethoven just hits home off the bat. I know many prefer Brahms but I am much more selective on his works and don't find his cello as compelling as Beethoven's.
@@fieldHunter61 Brahms clarinet quintet is really IMHO if you want to lend your ear.
@@luismg2130 maybe, Brahms has grown on me more including his cello sonatas. I think Brahms requires many listens to connect the complex emotions and start to unravel the compositions which often feel restless and difficult to grasp at first.
@@fieldHunter61 Yeah, I guess I'm attuned to what Brahms' music conveys and it's not a challenge for me. To each their own. I don't get Mozart for example, so you might think I'm crazy. There are some of his compositions I love, but most of them bore me.
The cello is not my instrument but this is a wonderful listening recital. This team blends together well.
Una maravilla!
Ergreifend himmlisch ĺ
Gracias
eccezionale, sublime
Sublime sound, is a language, but is art too
Gran concierto rene pallalever
I love this team performance and I like the 4th and fifth Beethoven Cello Sonatas the most. But am closer to what Gulda's pupil, Martha Argerich recorded with Misha Maisky. For me it is perhaps the better rendition of these Beethoven works. Maybe this is so because Argerich is the first account I heard of these Sonatas. But of course, what Gulda and Fournier recorded together is impressively good, having the production a very good quality. I would recommend both accounts equally. Maybe the Fournier outlook is a more distant approach than that of Maisky, which always sounded sweeter or more romantic to me. They really compete one with the other and it depends on which are your likings in Classical music. 🎵🎶💎🤗❤️👍
I find Maisky's playing too saccharine.
@@jeezee0210 Yes. I agree. Maisky is a bit candy sweet in his playing here. Never mind, the result is very good.
🙏🏽🧡 .I am praying for everyone who needs a Miracle. Only God can do the impossible, He can make a way when there seems to be no way. Today I pray God touches your health, your home, your family, your faith, and your finances. God bless you Amen!
16:32
26:45 pareciso razonable con
I think...
This is a performance that Beethoven would have been most satisfied with.
Gostei.
👏🏻
Michael Caine can play the cello. Not many people know that.
Zum Titel des Videos: Beethoven schrieb "Sonaten für Klavier und Violoncello"! (auch Klavier und Violine), hier also falsch als "Cellosonaten" betitelt.
This Divine music sends golems scurrying back to their hidey holes.
❤
Didn't know Emperor Palpatine play the cello....
I believe you can transform these sonatas to piano concertos. Just keep the pianos script and have to work hard using cellos script to change it to orchestra. Demands a lot of work and talent but 70% of the works is already done.
👍
chào buổi sáng tốt đẹp
la version avec wilhelm kempff est superieure a mon avis (j'ai les 2 versions)
Do
썸네일이 무슨 우병우같이 나왔네;;;
LETS GO BRANDON;) DOWN WITH TYRANNY!!!!!!!VIVA LA HUMANITY!!!!!!!!!!!!!!!!