MediciArts MM028-2, 72:47 [Distrib. by Naxos] ****:
French cello virtuoso Pierre Fournier (1906-1986) finds an excellent showcase in these WDR Cologne appearances, 1955-1962. Fournier came to the lovely, valedictory Elgar Concerto relatively late, in 1949, at the insistence of pupil Amaryllis Fleming. The noble passion of the work appealed directly to Fournier’s often majestic style of performance, and he collaborated for this 7 March 1955 with Graz and Baden-Baden conductor Hans Rosbaud (1895-1962), known more for his interpretations of Nono and Boulez than for any accommodations to British repertory. Rosbaud, nevertheless, provides an intimately sensitive series of colors to accompany Fournier’s rich, passionate color palette. The outer movements move with sinewy energy, while the interior movements melt us with sincere pathos and striking conviction.
The Dvorak Concerto (16 November 1962) has George Szell (1897-1970) at the helm of the WDR Cologne, a master who led the famed 1937 inscription with Casals and the Czech Philharmonic. In his usual, efficient mode of linear propulsion, Szell urges Dvorak’s magical lines forward, much in the same manner he had for the Fournier-Szell commercial recording of 1961. A classical bearing and ethereal line mark Fournier’s lithe approach, always waiting to burst out with vigor after a particularly affecting cantabile passage. A nasal oboe provides a sonic foil for Fournier’s plaintive cello tone in the first movement, where he is not averse to an occasional slide or poignant application of vibrato to milk the pathos of the moment. Both mystery and nostalgic exaltation inform this suave performance, which often bursts into controlled flames, especially at the martial coda. For directness of expression and affecting lyricism, the Adagio with these two artists provides a classic moment of Dvorak interpretation, especially in the dialogues of cello and flute. The secondary motif, clarion and tragic, enjoys Szell’s capacity for interior clarity in the supporting lines in the oboe and bassoon. A virtuoso brio infuses the last movement, Fournier’s pushing the musical line hard, and Szell unafraid to convert a march into a Grieg elfin dance. Beautifully breathed phrasing for the long, sad counter-theme, to which oboe, tympani, and flutes add their own luster. Even Fournier’s trilled pedal points ring with sublime fervor!
Beethoven’s set of variants on Mozart’s The Magic Flute have Fournier working with multi-talented Franz Holetschek (5 April 1957) in the WDR studio. Eminently vocal in character, each of the variations proceeds effortlessly with seamless logic and balanced sonorities. The piano part sparkles with as much verve as the cello makes effusive pronouncements from Fournier’s refined cello tone. A meeting of kindred spirits in each of the musical encounters on this disc.
-Gary Lemco
