Annie Fischer plays Beethoven: Eroica Variations, Piano Sonata No. 30 & Schumann: Piano Concerto In A

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1 CD 

Classical Music 

ICA Classics

23 September 2022

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Description

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Ludwig van Beethoven:Eroica Variations, Op. 35 (Prometheus Variations)Piano Sonata No. 30 in E major, Op. 109
Robert Schumann:Piano Concerto in A minor, Op. 54

Detailed Presentation

Robert Schumann:Piano Concerto in A minor, Op. 54
Annie Fischer (Piano)
WDR Sinfonieorchester Köln (Orchestra)Joseph Keilberth (Conductor)
Ludwig van Beethoven:Eroica Variations, Op. 35 (Prometheus Variations)Piano Sonata No. 30 in E major, Op. 109
Annie Fischer (Piano)

Sviatoslav Richter’s comment that Hungarian-born Annie Fischer (1914–1995) was ‘a great artist imbued with a spirit of greatness and genuine profundity’ is just a sign of the esteem in which her fellow musicians held her. Curiously, of all the mid-century pianists, she seems to have been among the least recorded due to her profound dislike of the studio. Winner of the Franz Liszt International Competition in 1933, she made recordings of Schumann and Liszt with Klemperer (a close friend), Bartók with Markevitch and Mozart with Sawallisch. She recorded over a 15-year period all the Beethoven sonatas for Hungaroton.

Annie Fischer’s ‘unerring awareness’ (David Threasher) of the shifting moods in the Schumann Piano Concerto has been caught in wonderful sound by the WDR engineers in this ‘live’ recording which has never been issued before.

In the two Beethoven works, ‘she is powerfully authoritative’ (David Threasher).

Both these ‘live’ recordings have never been published before.

Maurizio Pollini said Fischer’s playing was marked by ‘a childlike simplicity, immediacy and wonder’ while the distinguished writer Bryce Morrison commented on her ‘depth and spiritual serenity’. All these recordings are great additions to her relatively small discography.

you are made aware once more of Fischer’s robust poetry, of her economical, never inflated or exaggerated style. Less mercurial than, say Moiseiwitsch, less vertiginous than Argerich in the Schumann Concerto, her performance is none the less one of fiery engagement and a grateful sinking into repose in the first movement’s melting A flat episode…Throughout, she abhors trickery of any kind…This is a deeply gratifying issue. — Gramophone Magazine, June 2012