“New” Annie Fischer, Take 2
Posted by: Todd A on 12 March 2005
So happy was I with the most recent BBC Legends release displaying Annie’s artistry that I decided I must get more. Fortunately, I found out about the recently released (in the US) recital on Palexa. Obviously I had to make it mine. It didn’t matter what pieces were on it, I just had to have it. As it turns out, the disc includes two works I’ve not yet heard from Ms Fischer, and a second recording of Carnaval. But it was those other two works, and Schubert’s great A major sonata, in particular, that most commanded my attention. Yes, any delay in getting this would be unacceptable. That was made more apparent upon hearing the disc.
The March 9, 1984 recital opens with Mozart’s F major, K332 sonata. Her Mozart sonata in the BBC set is a bit on the heavy side, so I more or less expected that here. That’s not what I got. No, this is a lighter, better proportioned, more classical approach to Mozart. Perhaps it’s a bit more robust than some, but her clean fingerwork and singing tone simply captivated me from start to finish. This is fresh, direct, unaffected playing, with no concerns for the microphone or posterity; this is of-the-moment music making. This is brilliant. The recital was off to a splendid start.
The next work is the great D959. Until I got this disc, I did not know she had ever recorded it in any fashion. I have both her Hungaroton and EMI recordings of the great B-flat, and while she is very good in that work, she doesn’t bring the depth and darkness I prefer. The A major is somewhat similar in some regards, but this one can be made too heavy. Ms Fischer does not do that. No, her fresh, direct, unaffected style is again on display. The opening two movements perhaps lose the same gravity that, say, Richter or Kovacevich bring to it, but that matters not at all. Her pleasantly relentless forward momentum is its own reward. Ideas, phrases, and melodies all unfold effortlessly, and when needed – as with a few left-hand chords in the Andantino – she can bring just a tinge of darkness. The scherzo is dispatched with the perfect blend of crisp playing and alternating light humor and bite. Dainty, salon music this is not. But nor is it brooding and thick. The concluding Rondo comes off exceptionally well, her directness paying rich dividends. She does show her age a bit – she was 69 or 70 at the time of this recital – and there are some slips and bungled notes and chords, but that is irrelevant.
The concluding Carnaval is more mixed, though ultimately successful. The Preambule has a more noticeable number of errors, and Reconnaissance, Pantalon et Colombine, and Paganini all tax Ms Fischer’s abilities, with almost too many errors. She gets the musical message right – boy does she! – but a cringe or two from the listener may be unavoidable. It doesn’t help that the piano sounds a little roughed up for the closer. But elsewhere there are glories to be had! Eusebius is dreamy, indeed, but does one sense just a tinge of sadness and regret? I think so. Florestan is impetuous, fiery, brash, and German – just as he ought to be. And while the butterflies may be just a bit beefy, they are fittingly flitting nonetheless. When Annie decides to lead her band of brothers in their march against the Philistines, one wants to rise up and join her. A few more unhappy misses mar the ending, but I must say: so what? Ultimately, I prefer her earlier recording, but this makes another fine addition to my collection of this ceaselessly entertaining masterpiece.
Our good friends at Radio-Canada in Montreal did a great service by recording this recital. The late analog sound is warm and inviting if not exceptionally clear, and if the hiss is a bit high in level, with a few patches of distortion and tape damage to blemish an otherwise wonderful affair, I still have nothing but praise for the very existence of this recording. For Annie fans it is a must have. This is quite possibly the best disc I’ve purchased yet this year.
The March 9, 1984 recital opens with Mozart’s F major, K332 sonata. Her Mozart sonata in the BBC set is a bit on the heavy side, so I more or less expected that here. That’s not what I got. No, this is a lighter, better proportioned, more classical approach to Mozart. Perhaps it’s a bit more robust than some, but her clean fingerwork and singing tone simply captivated me from start to finish. This is fresh, direct, unaffected playing, with no concerns for the microphone or posterity; this is of-the-moment music making. This is brilliant. The recital was off to a splendid start.
The next work is the great D959. Until I got this disc, I did not know she had ever recorded it in any fashion. I have both her Hungaroton and EMI recordings of the great B-flat, and while she is very good in that work, she doesn’t bring the depth and darkness I prefer. The A major is somewhat similar in some regards, but this one can be made too heavy. Ms Fischer does not do that. No, her fresh, direct, unaffected style is again on display. The opening two movements perhaps lose the same gravity that, say, Richter or Kovacevich bring to it, but that matters not at all. Her pleasantly relentless forward momentum is its own reward. Ideas, phrases, and melodies all unfold effortlessly, and when needed – as with a few left-hand chords in the Andantino – she can bring just a tinge of darkness. The scherzo is dispatched with the perfect blend of crisp playing and alternating light humor and bite. Dainty, salon music this is not. But nor is it brooding and thick. The concluding Rondo comes off exceptionally well, her directness paying rich dividends. She does show her age a bit – she was 69 or 70 at the time of this recital – and there are some slips and bungled notes and chords, but that is irrelevant.
The concluding Carnaval is more mixed, though ultimately successful. The Preambule has a more noticeable number of errors, and Reconnaissance, Pantalon et Colombine, and Paganini all tax Ms Fischer’s abilities, with almost too many errors. She gets the musical message right – boy does she! – but a cringe or two from the listener may be unavoidable. It doesn’t help that the piano sounds a little roughed up for the closer. But elsewhere there are glories to be had! Eusebius is dreamy, indeed, but does one sense just a tinge of sadness and regret? I think so. Florestan is impetuous, fiery, brash, and German – just as he ought to be. And while the butterflies may be just a bit beefy, they are fittingly flitting nonetheless. When Annie decides to lead her band of brothers in their march against the Philistines, one wants to rise up and join her. A few more unhappy misses mar the ending, but I must say: so what? Ultimately, I prefer her earlier recording, but this makes another fine addition to my collection of this ceaselessly entertaining masterpiece.
Our good friends at Radio-Canada in Montreal did a great service by recording this recital. The late analog sound is warm and inviting if not exceptionally clear, and if the hiss is a bit high in level, with a few patches of distortion and tape damage to blemish an otherwise wonderful affair, I still have nothing but praise for the very existence of this recording. For Annie fans it is a must have. This is quite possibly the best disc I’ve purchased yet this year.