How can somebody dislike such interpretation?Why?Is so wonderful how Maestro Fischer plays this Fantasy. With so much fantasy, poetry, colors and deep feelings!
Wow . this music . Kreislerian , Fashingswank, Fantasiestuch. Blumenstuck the last pieces . Schumann takes a crown from Chopin as one gets older . there is a qulaity so diffeent in his music . So different from Mendellssohn but with charm and never in the bad humor we alwasy find chopin 's mercurial driven "rhapsodies in " He seems balanced in his music so many diffeent traits whereas chopin comparably though amazingly manysided and better than any of hs frightful contemporaies . Burgmuller, Henselt,even alkan who are these men compared to Liszt and chopin . But Schumann ... Oh Have any of us humans gone so high . OnlyMessiaen and boulez fly this high ! Fischer 's logic and judgement ! I would have had to study with the man . His sense of textures and pedals are very noticable here . Did he leave us a Kreisleriana .funny these earlier pianists play the Brahms sonatas but i dont think any of these per-WWII played Schumann's sonatas ! I had a book with thousands of pianist's programmes . Must find it somewhere someday !
This is right up there with Horowitz and Richter in its own way, especially in the outer movements. Such a beautiful sense of line in the first movement, and the least self-indulgent version I've heard thus far, putting it at the top of my list. The second movement isn't quite as satisfactory - the march isn't as assertive as I'd like and, from end of bar 91, those downward leaps are too long after the chord each time. Also, he's one of the slowest in the Coda, but still impressive of course. The last movement is well-judged and he so nearly equals Horowitz in that amazing final climax, but unfortunately, eases off too soon. As with many others, he seems to equate rit. with dim., but Schumann doesn't give any indication to be other than loud until the final three chords. Interestingly, Fischer makes exactly the same couple of rhythmic alterations in this movement as does Arrau; presumably, the same, sub-Urtext edition !
Nick con brio Both had Kraus as a teacher. Arrau and Edwin Fischer do a lot of similar things in all there recordings actually. If only Edwin Fischer were a little younger when he recorded this. He had one of the best techniques of all time (misconception that he had bad technique) the problem was that he got a few memory slips in his old age, and lost confidence sometimes. I can just see him sounding so clean and beautiful if he recorded this in his younger days.
Both Fischer and Arrau were pupils of Martin Krause, a pupil himself of Liszt, the dedicatee of the Fantasia - there are Urtexts and there are Urtexts.
Ein ganz großer Künstler!!!❤
How can somebody dislike such interpretation?Why?Is so wonderful how Maestro Fischer plays this Fantasy. With so much fantasy, poetry, colors and deep feelings!
Porque no tienen ni p. idea
Beautiful performance!
An outstanding performance!
I was transfixed.
Thank you very, very much.
A true treasure.
Thank you!!
WONDERFUL!
C'est du Fischer donc sacrément brouillon et parfois caverneux mais quelle autorité et surtout quel chant ! Jaillissant, spontané, accidenté.
Thanks again
Шикарный МУЗЫКАНТ!
Гениально!!!
Love Fischer, wonderful, but check out Moiseiwitsch's
Wow . this music . Kreislerian , Fashingswank, Fantasiestuch. Blumenstuck the last pieces . Schumann takes a crown from Chopin as one gets older . there is a qulaity so diffeent in his music . So different from Mendellssohn but with charm and never in the bad humor we alwasy find chopin 's mercurial driven "rhapsodies in " He seems balanced in his music so many diffeent traits whereas chopin comparably though amazingly manysided and better than any of hs frightful contemporaies . Burgmuller, Henselt,even alkan who are these men compared to Liszt and chopin . But Schumann ... Oh Have any of us humans gone so high . OnlyMessiaen and boulez fly this high ! Fischer 's logic and judgement ! I would have had to study with the man . His sense of textures and pedals are very noticable here . Did he leave us a Kreisleriana .funny these earlier pianists play the Brahms sonatas but i dont think any of these per-WWII played Schumann's sonatas ! I had a book with thousands of pianist's programmes . Must find it somewhere someday !
This is right up there with Horowitz and Richter in its own way, especially in the outer movements. Such a beautiful sense of line in the first movement, and the least self-indulgent version I've heard thus far, putting it at the top of my list. The second movement isn't quite as satisfactory - the march isn't as assertive as I'd like and, from end of bar 91, those downward leaps are too long after the chord each time. Also, he's one of the slowest in the Coda, but still impressive of course. The last movement is well-judged and he so nearly equals Horowitz in that amazing final climax, but unfortunately, eases off too soon. As with many others, he seems to equate rit. with dim., but Schumann doesn't give any indication to be other than loud until the final three chords. Interestingly, Fischer makes exactly the same couple of rhythmic alterations in this movement as does Arrau; presumably, the same, sub-Urtext edition !
Nick con brio Both had Kraus as a teacher. Arrau and Edwin Fischer do a lot of similar things in all there recordings actually. If only Edwin Fischer were a little younger when he recorded this. He had one of the best techniques of all time (misconception that he had bad technique) the problem was that he got a few memory slips in his old age, and lost confidence sometimes. I can just see him sounding so clean and beautiful if he recorded this in his younger days.
Both Fischer and Arrau were pupils of Martin Krause, a pupil himself of Liszt, the dedicatee of the Fantasia - there are Urtexts and there are Urtexts.
A lélek hangja...