I could blissfully listen to Fischer play Beethoven all day long and well into the night .... What a great artist of the keyboard! Thanks for sharing this wonderful music.
A splendid performance! Great depth of feeling and even deeper understanding. One of the greatest readings of this sonata in record. Certainly the best playing I've ever heard from Fischer whose output was notably inconsistent. He was one of my pianistic grandfathers. My teacher, Mrs. Genhart, studied with Edwin Fischer and made her debut with the Berlin Philharmonic in 1926 under his baton playing both the Beethoven C-Major and Brahms Bb-Major concerti on the same program. I see now more than ever before why she thought so highly of him. There is a mystical quality in these older artists sadly lacking in today's super virtuosi. Mrs. G also worked with Busoni and Tobias Matthay, but Fischer gave her the most penetrating understanding of the Viennese classicists. Every note had its own special significance in the context of the whole a sometimes maddeningly detailed approach, but it paid off handsomely in the long run.
does it in any way affect your playing if your teacher studied with him, or even if you had? I use the passage starting at 19.49 as the benchmark or this sonata - if they do this well I may then listen to more. In my opinion Fischer here expresses no depth of feeling whatsoever, and disregards in the most part the composer's indications to get more and more quiet right from its early stages - instead he falls into the catasrophic temptation of a wholly arbitrary decrease in tempo, along with a belated diminueno, towards the end of the passage. There are no technical challenges here, just a challenge in terms of the performer's commitment. Sorry, this is woeful and falling well below his usual standards (I have grown fond of Fischer's playing).
C'est clair, c'est net. Je décide que les pianistes doivent cracher leur langue à toute touche noire et je vais insulter en public tous ceux que je surprends à ne pas le faire. Ceci dit à tous ceux qui ont à se plaindre ici.
Faut-il incriminer le manque de dynamique à EF ou à l'enregistrement ? résultat l'ensemble reste assez plat; bon, par moments très bon, mais plat ...donc pas si bon que ça. Rien de spécial à dire, sauf que la 3° V est trop arrondie, et qu'il n'a pas tiré le parti de sa très belle vision de la 4° V pour en tirer les conséquences sur la 5° qui aurait ainsi bénéficié d'un tempo plus lent et d'une vision plus aérée et musicale; (idem évidemment pour les 4° et 5° contre-variations) Bonnes 6° mais le double accord sol-si-la à 22'00 doit être bien frappé; Bonne 7° mais montée en tierces de la coda manque totalement de respiration musicale.
Fischer draws the listener to the majesty and other worldliness of this masterpiece right from the arresting opening statement.
In awe and admiration for this one of a kind pianist Edwin Fischer. Thank you!
I could blissfully listen to Fischer play Beethoven all day long and well into the night .... What a great artist of the keyboard! Thanks for sharing this wonderful music.
Meraviglioso
0:00 I. Maestoso
8:25 II. Arietta
Beautiful ! Thank you for posting !
Every detail makes sense. Incredible.
Une version qui reste à mon sens indétrônable, tout comme celle du Concerto "l'Empereur" par le même super-artiste...
great great great tnks
Una interpretazione sublime
エドウィン・フィッシャー ベートーヴェン ピアノソナタ111番を
讃 す🎶
エドウィン・フィッシャーは ドイツの生んだ ピアノの王者である
この曲は ベートーヴェンの最晩年のピアノソナタの 傑作である
このふたつか 遭遇すれば奇蹟の音楽に なるのである
耳が改めて 蘇生され 今聴く如く感銘に 打ち震えるのである
エドウィン・フィッシャーの生業の凄さに 驚嘆するのである
後は 彼の奏でる音楽の 後を只管
追って行くのである
そこに 音楽の悦楽が 立ち現れるのである
ベートーヴェンの 偉大なるを
擱 筆
grazie ancora
grazie mille!!!!!!
A splendid performance! Great depth of feeling and even deeper understanding. One of the greatest readings of this sonata in record. Certainly the best playing I've ever heard from Fischer whose output was notably inconsistent. He was one of my pianistic grandfathers. My teacher, Mrs. Genhart, studied with Edwin Fischer and made her debut with the Berlin Philharmonic in 1926 under his baton playing both the Beethoven C-Major and Brahms Bb-Major concerti on the same program. I see now more than ever before why she thought so highly of him. There is a mystical quality in these older artists sadly lacking in today's super virtuosi. Mrs. G also worked with Busoni and Tobias Matthay, but Fischer gave her the most penetrating understanding of the Viennese classicists. Every note had its own special significance in the context of the whole a sometimes maddeningly detailed approach, but it paid off handsomely in the long run.
does it in any way affect your playing if your teacher studied with him, or even if you had? I use the passage starting at 19.49 as the benchmark or this sonata - if they do this well I may then listen to more. In my opinion Fischer here expresses no depth of feeling whatsoever, and disregards in the most part the composer's indications to get more and more quiet right from its early stages - instead he falls into the catasrophic temptation of a wholly arbitrary decrease in tempo, along with a belated diminueno, towards the end of the passage. There are no technical challenges here, just a challenge in terms of the performer's commitment. Sorry, this is woeful and falling well below his usual standards (I have grown fond of Fischer's playing).
@@chrish12345 I cannot agree re 19.49. Fischer kept the tension throughout
Sublime!!!!!!!!!!
Genio
Fischer in the blue sky as usual
Fra le più belle 111!!!
... avec Wilhelm Fürtwangler au pupitre, pardon j'oubliais !
13:58
C'est clair, c'est net. Je décide que les pianistes doivent cracher leur langue à toute touche noire et je vais insulter en public tous ceux que je surprends à ne pas le faire. Ceci dit à tous ceux qui ont à se plaindre ici.
腹有詩書氣自華，笑看人間多少事。
心地光明塵不染，无功用處樂流連。
Faut-il incriminer le manque de dynamique à EF ou à l'enregistrement ? résultat l'ensemble reste assez plat; bon, par moments très bon, mais plat ...donc pas si bon que ça. Rien de spécial à dire, sauf que la 3° V est trop arrondie, et qu'il n'a pas tiré le parti de sa très belle vision de la 4° V pour en tirer les conséquences sur la 5° qui aurait ainsi bénéficié d'un tempo plus lent et d'une vision plus aérée et musicale; (idem évidemment pour les 4° et 5° contre-variations) Bonnes 6° mais le double accord sol-si-la à 22'00 doit être bien frappé; Bonne 7° mais montée en tierces de la coda manque totalement de respiration musicale.
lol