Fournier made two later recordings of the Dvorak Concerto––a 1954 mono Decca LP with Kubelik and the Vienna Philharmonic (3/55––nla), and an early 1960s stereo version with Szell and the Berlin Philharmonic for DG. The latter is available on two CD issues (11/88 and 5/90), so is there any real point in reissuing a little-known 1948 performance in obviously more dated sound? Well yes, there is, for Fournier himself had a particular regard for this early version, and was absolutely right. It isn't just another Dvorak Cello Concerto recording, but one of the best ever, on a par with Rostropovich and Talich, or Casals and Szell, or any other combination you care to remember.
Part of that special quality lies in the Philharmonia's playing under Kubelik, which has a Czech fervour and rhythmic freedom which are reminiscent of Talich and the Czech Philharmonic. At the time of the recording it was only a few months since Kubelik had left his homeland permanently following the Communist takeover, and surely this accounts in part at least for the particularly poignant and expressive manner in which he conducts. Fournier seems inspired, too, and his customarily aristocratic, beautifully fashioned playing has in addition a quality of spirituality and strength of communication which lift his performance to great heights.
The Saint-Saens is a much lesser work than the Dvorak, with just the one inspired melodic idea in the middle movement. Fournier gives it the very best advocacy, and is ably partnered by Susskind and the Philharmonia. All the shorter pieces with piano are finely played, too, and throughout the disc the transfers are excellent.'