Claudio Scimone (Padua, Italy, 23 December 1934 – 6 September 2018) was an … Read Full Bio ↴Claudio Scimone (Padua, Italy, 23 December 1934 – 6 September 2018) was an Italian conductor and the founder of I Solisti Veneti (the ensemble with which most of his recordings have been made).
Claudio Scimone studied conducting with Dmitri Mitropoulos and Franco Ferrara. He has established an international reputation as a conductor, as well as a composer. He has revived many baroque and renaissance works. His discography includes over 150 titles, and he has won numerous prizes, including the Grand Prix du Disque of the Académie Charles Cros.
Scimone was the honorary conductor of the Gulbenkian Orchestra in Lisbon, Portugal.
With the Philharmonia of London, he conducted the first recording of Muzio Clementi’s Symphonies.
Scimone led the world to discover the importance of Vivaldi’s theatrical works, beginning with the first modern performance of Orlando furioso, featuring Marilyn Horne and Victoria de Los Angeles.
In the reborn Fenice Claudio Scimone directed the first modern revival of the Venetian version of Maometto secondo by Rossini.
He also gave the modern premieres of Moses in Egypt and Oedipus at Colonus by Rossini, and The Last Judgement by Salieri.
Claudio Scimone was awarded the title of Knight Grand Cross of the Order of Merit of the Italian Republic (the highest ranking honour of the Republic). He was also awarded an honorary law degree from the University of Padua.
Claudio Scimone studied conducting with Dmitri Mitropoulos and Franco Ferrara. He has established an international reputation as a conductor, as well as a composer. He has revived many baroque and renaissance works. His discography includes over 150 titles, and he has won numerous prizes, including the Grand Prix du Disque of the Académie Charles Cros.
Scimone was the honorary conductor of the Gulbenkian Orchestra in Lisbon, Portugal.
With the Philharmonia of London, he conducted the first recording of Muzio Clementi’s Symphonies.
Scimone led the world to discover the importance of Vivaldi’s theatrical works, beginning with the first modern performance of Orlando furioso, featuring Marilyn Horne and Victoria de Los Angeles.
In the reborn Fenice Claudio Scimone directed the first modern revival of the Venetian version of Maometto secondo by Rossini.
He also gave the modern premieres of Moses in Egypt and Oedipus at Colonus by Rossini, and The Last Judgement by Salieri.
Claudio Scimone was awarded the title of Knight Grand Cross of the Order of Merit of the Italian Republic (the highest ranking honour of the Republic). He was also awarded an honorary law degree from the University of Padua.
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Cello Sonata No. 3 in A Major Op. 69: II. Adagio cantabile
Claudio Scimone Lyrics
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The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@classicalmusicreference
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) : https://spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : https://bit.ly/2M1Eop2
❤️ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) https://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): https://www.youtube.com/watch?v=7If07fn6p2Y&list=OLAK5uy_kO6zZnE8r1_ai7bAw5RfDbKkQoi2vubNI&index=1
Ludwig Van Beethoven PLAYLIST (reference recordings): https://www.youtube.com/watch?v=WUYeYsLMLus&list=PL3UZpQL9LIxOhkdci2M8WKMSVaf9WiF8x&index=6
@classicalmusicreference
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) : https://spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : https://bit.ly/2M1Eop2
❤️ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) https://www.patreon.com/cmrr
@classicalmusicreference
Album available // Beethoven: The Cello Sonatas and Variations Pierre Fournier
🎧 Qobuz https://bit.ly/4b7rgpc Tidal https://bit.ly/3DNB5aj
🎧 Apple Music https://apple.co/3BTu2MI Deezer https://bit.ly/3vom7Es
🎧 Amazon Music https://amzn.to/3aLaoGz Napster https://bit.ly/3tUq8Ey
🎧 Spotify https://spoti.fi/3tJp6vb SoundCloud https://bit.ly/2Z0l3dP
🎧 Youtube Music, 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) : https://spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : https://bit.ly/2M1Eop2
❤️ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) https://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): https://www.youtube.com/watch?v=7If07fn6p2Y&list=OLAK5uy_kO6zZnE8r1_ai7bAw5RfDbKkQoi2vubNI&index=1
Ludwig Van Beethoven PLAYLIST (reference recordings): https://www.youtube.com/watch?v=WUYeYsLMLus&list=PL3UZpQL9LIxOhkdci2M8WKMSVaf9WiF8x&index=6
@user-oh9gb1tb5g
Jjjjhjj
@charliekim2939
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.
@terrenceburton7903
🌟😎🌟😎🌟😎🌟
@pobnoonmunch2255
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.
@hoihoover929
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.
@orlandomendez2753
Spent this warm afternoon with someone who lived for his art, the art that bring us peace and hope
@notaire2
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!
@josellorca4799
¿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 YouTube♥️to brings us this immortal music.
@richardrickford3028
The music and the performance are very very humbling.