Pierre Fournier and Artur Schnabel recorded Beethoven's five cello sonatas in 1947 and 1948, although only the last three were issued at that time. The other two first appeared in the late 1970s when EMI released the cycle on LP... relaxed mastery and supple interplay... Fournier's sweet tone and sustained phrasing in the slow movements stand out to the same extent exhibited in his DG remakes with Gulda a decade later, but less so than his live 1965 Beethoven collaborations with Kempff, also on DG. Schnabel's pearl-shaped embellishments and exquisitely timed runs highlight Op. 69's finale, together with an effortless transition from the Adagio cantabile's last breath to the uplifting Allegro Vivace. The great fugue closing Op. 102 No. 2 moves with impressive, unpressured drive as Schnabel and Fournier toss the knotty counterpoint back and forth like two old friends engaged in meaningful conversation.
-- Jed Distler, ClassicsToday.com [5/14/2001, reviewing Beethoven Sonatas 3-5,
The successor to Casals in the legendary trio with Thibaud and Cortot, Fournier made many notable chamber-music recordings including cycles of the Beethoven cello sonatas with Schnabel and Kempff, and two recordings of the Brahms sonatas with Firkusny and Kempff. A noted interpreter of the Dvorák Cello Concerto and Richard Strauss's Don Quixote (which he recorded with both Clemens Krauss and Herbert von Karajan), Fournier was an enthusiastic advocate of modern music—playing in the first (private) performance of Fauré's String Quartet (1925). Amongst the fine modern works for cello written for him are the concertos of Frank Martin and Bohuslav Martinu and the Cello Sonata by Francis Poulenc. He was also the soloist in the first performance of the Roussel Cello Sonata.
-- Gramophone [3/1986]