Festival Concerto (Piano Concerto in A Minor, Op. 54)

Life struggles also doubtless affected her world view. Despite this carnage, Fischer returned to Budapest after the war, and stayed through successive Communist dictatorships. This wartime exile and impoverished life in the postwar Soviet bloc may explain a certain bleak outlook compatible with a tragic view of art and life. This may seem ironic to some observers, given the re-emergence in Hungary of far-right politicians and their hateful antisemitic rhetoric. Official state celebrations of Annie Fischer in Hungary have not mentioned her Judaism. Rarely can momentary aberrations have mattered so little and never once was there any suspicion that faulty technique was responsible.

Even Charles Rosen, the American pianist who could be hypercritical about colleagues, wrote aff ectionately in his Piano Notes: In the next round, I was sitting next to her while the Korean was playing, and she turned to me and said softly: What they simply mean is that she was one of the mightiest pianists of her century. Sober, serious and uncompromising are the heroic.

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This one with Giulini dates from the same year and comes to us from the Lucerne Festival. The performances are similar, though few will be surprised that the sound particularly the orchestra strings is better on the studio recording. That set is one of the marvels of Beethoven performance and has a recording that leaves nothing to be desired. This Beethoven 2 is similar, though few could make claims for its supremacy as an orchestral recording.

The ad hoc ensemble plays well for Szell, and the piano sound here is quite good. Could I recommend purchase of this recording? Well, yes and no. It is certainly a must for admirers of these artists who must have every recording they ever made. No if you already have the studio recordings.

This one with Giulini dates from the same year and comes. Fanfare April Huntley Dent April 1, Two illustrious pianists with star-crossed careers are honored here, and acquit themselves with honor. The eminent Hungarian pianist Annie Fischer Mehr lesen Two illustrious pianists with star-crossed careers are honored here, and acquit themselves with honor.

Piano Concerto in A Minor, Op. 54

The eminent Hungarian pianist Annie Fischer made her Swiss debut in Zurich when she was 14, but she was forced to spend the Nazi era in Sweden, as a Jewish artist in exile, and once she returned home in , her touring outside Hungary was limited. This account of the Schumann Piano Concerto from was her only appearance at the Lucerne Festival; she had played the same work at her Zurich debut three decades previously. Her well-balanced interpretation flows in perfect accord with Giulini, who included among his talents the skills of a great accompanist. The Philharmonia, honed by Karajan since its founding, plays with a lovely, rounded tone.

Fischer is still undervalued outside Hungary, and this live performance is a major addition to her discography. The passagework is stunning, not just for clarity but also for the nuance Fleisher adds even when moving at top speed. His complete Beethoven concerto cycle with Szell has never left the catalog since the early s, and on this occasion they remain aligned in preferring a fleet, Haydnesque approach, albeit with a fairly robust-sounding orchestra; there is minimal rubato and no slow down for second themes.

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The atmosphere of a live concert adds an extra touch of exuberance from both conductor and soloist. Unlike Fischer, Fleisher returned several times to Lucerne, twice to play concertos for the left hand by Ravel and Prokofiev, then twice more, in and , for solo recitals after he recovered the use of both hands.

Every installment to date has been warmly received by Fanfare critics. Despite a few egregious passages, the program notes contain useful information. The recorded sound, which favors the piano considerably, is very good for a mono radio broadcast, affording a rich timbre to the instrument even if the orchestra is a bit thin and edgy, but only a bit. Artistically, the archives have yielded up two must-listen performances.

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The eminent Hungarian pianist Annie Fischer. BBC Music Magazine February Julian Haylock February 1, Recorded live at the Lucerne Festival in remarkably fine sound, Fischer's golden tone recalls an already bygone age, while Fleisher's dazzling clarity Mehr lesen Recorded live at the Lucerne Festival in remarkably fine sound, Fischer's golden tone recalls an already bygone age, while Fleisher's dazzling clarity points to the future. Recorded live at the Lucerne Festival in remarkably fine sound, Fischer's golden tone recalls an already bygone age, while Fleisher's dazzling clarity.

Forceful, cleanly articulated and with a poetically charged Intermezzo, it's a performance that shows Fischer to have been a notably strong, intellectual player. A good pairing for Fischer's Schumann, this: Good, forwardly-balanced mono sound throughout. Aber auch das 2. Merchant Infos Annie Fischer plays Schumann: October total time: International Piano No laughing matter.

Fanfare Two illustrious pianists with star-crossed careers are honored here, and acquit Two illustrious pianists with star-crossed careers are honored here, and acquit Gramophone Pianists live in Lucerne. Immer wieder bietet das Label Audite historische Trouvaillen, in diesem Fall Recorded live at the Lucerne Festival in remarkably fine sound, Fischer's golden Fono Forum Kritiker-Umfrage Midwest Tape Released for the first time in their entirety, these remastered live recordings Released for the first time in their entirety, these remastered live recordings Crescendo Magazine Deux nouvelles merveilles du Festival de Lucerne.

Baba Yaga - Pictures at an Exhibition. Clara Haskil plays Mozart, Beethoven and Schumann.

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Clara Haskil plays Mozart: Complete String Quartets - Vol. Isaac Stern plays Tchaikovsky: After its introduction by the woodwinds, the theme is then given to the soloist. Schumann provides great variety with this theme. In the course of the first movement Schumann varies this theme in many ways. He first offers it in the A minor key of the movement, then we hear it again in major, and we can also hear small snatches of the tune in a very slow, A-flat section. The orchestra and especially the clarinet is often used against the piano in this movement: This is followed by a subsection labeled Animato.

At its end Schumann introduces a second theme, which, however, does not reach the significance of the main theme. Subsequently, the development of the main movement begins in form of a dramatic lament bar This part almost reaches the position of an independent middle section. In A-flat major, the metrically altered main theme is referenced by piano arpeggios. Suddenly, however, chords of the Florestan theme interrupt the peace of the main theme.

It comes to a struggle between the two ideals, which shapes the development further with rapid changes of soli and tutti. With further dramatic progression and the modulation to A minor, the reprise is finally reached and cites the exposition almost tone for tone. The last tense progression brings forth a solo cadenza of monumental size and virtuosity bar It is undoubtedly the culmination of the movement.

The main movement of the concert ends with four tutti chords. This movement is keyed in F major. The piano and strings open up the piece with a small, delicate tune, which is heard throughout the movement before the cellos and later the other strings finally take the main theme, with the piano mainly used as accompaniment. The movement closes with small glimpses of the first movement's theme before moving straight into the third movement. The movement opens with a huge run up the strings while the piano takes the main A major theme.

Schumann shows great color and variety in this movement. The piece finishes with a restating of the previous material before finally launching into an exciting finale, and ending with a long timpani roll and a huge chord from the orchestra. Despite its three movements, the work has retained the character of a fantasy.

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The basic idea expressed in the work is that of yearning and happiness between two loving people. Schumann musically transforms his fight for Clara in this work. Congruent with Beethoven, Schumann saw this theme as an expression of the intimate connection between loyalty and the struggle for freedom. In this way the concerto is, like many other of his compositions, based on Schumann's life long concern to fight against philistinism with musical means. The contemporary reception of the work was consistently positive.

Piano Concerto (Schumann)

Clara Schumann wrote after the premiere: Special emphasis was placed on the skilful, colorful and independent orchestral treatment, that would leave room for piano and orchestra alike. The Leipzig Allgemeine Musikzeitung praised the composition on December The Dresdner Abendzeitung praised the "quite independent, beautiful and interesting orchestral treatment", and recognizes that the "receding of the piano part into the background" could certainly also be seen as progress.

The work may have been used as a model by Edvard Grieg in composing his own Piano Concerto , also in A minor.

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