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Beethoven - Piano Sonatas Nos 7 & 16; Schumann - Carnaval Op 9 CD


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£13.14 & FREE Delivery in the UK on orders over £20. Details Only 1 left in stock (more on the way). Dispatched from and sold by Amazon. Gift-wrap available.

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Track Listings

Disc: 1

  1. Preambule
  2. Pierrot
  3. Arlequin
  4. Valse Noble
  5. Eusebius
  6. Florestan
  7. Coquette
  8. Replique
  9. Papillons
  10. A.S.C.H./S.C.H.A. (Lettres dansantes)
  11. Chiarina
  12. Chopin
  13. Estrella
  14. Reconnaissance
  15. Pantalon Et Colombine
  16. Valse Allemande
  17. Paganini
  18. Aveu
  19. Promenade
  20. Pause
  21. Marche Des Davidsbundler Contre Les Philistins
  22. Presto
  23. Largo E Mesto
  24. Menuetto. Allegro - Trio. Meno mosso
  25. Rondo. Allegro
  26. Allegro Vivace
  27. Adagio Grazioso
  28. Rondo. Allegretto - Presto

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Amazon.com: HASH(0x8ed5993c) out of 5 stars 1 review
2 of 2 people found the following review helpful
HASH(0x8efe679c) out of 5 stars The Schumann is too monochromatic, but Fischer's Beethoven is masterful 24 Mar. 2011
By Santa Fe Listener - Published on Amazon.com
Format: Audio CD
When the noted Hungarian pianist Annie Fischer died in 1995 at the age of eighty, she was both famous and unknown depending on where you lived -- in a career spanning seven decades she only crossed the Atlantic twice. In America her reputation rested on recordings, mostly in the Fifties, before she gave those u, feeling that real music-making required an audience. She was also very self-critical, taking fifteen years, beginning in 1977, to record a complete cycle of the Beethoven sonatas, only to withdraw her approval for its release. Her wishes were defied after her death, and that cycle gave her latter-day reputation a big boost.

This CD of two broadcasts for the BBC begins with a studio performance of Schumann's Carnaval from 1963. It's probable that any listener will give thumbs up or down within five minutes. Fischer was not one for finesse, detail, and nuance. she attacked the piano, living up to the cliche of the fiery Hungarian pianist, and even in sections like "Chopin" her approach is forward-moving, extrovert, and almost blunt. It's certainly invigorating; no one could accuse her, in those pre-Argerich days, of being merely a lady pianist. Yet for me is comes down to much of a muchness. The side of Schumann that's about fantasy and imagination is being ignored too much. The mono sound is acceptable but you have to tolerate a tinny piano.

The two Beethoven sonatas that follow, Op. 10 no. 3 and Op. 31 no. 1, date from 1987, almost a quarter century later; they are recorded in very good, clear natural stereo. Late in life Fischer kept her energy and acquired even ore authority -- this really is Beethoven playing to compete with the best. It is as robust as Gilels' but without his ponderous lack of imagination. Fischer is alive and alert in every movement, giving us details and cross-currents in a masterly fashion. No doubt it helped that she was immersed in her complete cycle during this time; still, how remarkable that at age 73 she could encompass so much of Beethoven's protean imagination.
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