Annie Fischer Live 1949-51 Mp3, Flac, Wma

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Annie Fischer Live 1949-51 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Live 1949-51 Country: France Released: 1995 Style: Classical, Romantic, Modern MP3 version RAR size: 1995 mb FLAC version RAR size: 1975 mb WMA version RAR size: 1141 mb Rating: 4.4 Votes: 268 Other Formats: VQF ADX WMA AIFF VOX MOD AAC Tracklist Hide Credits Sonata No. 10 in C Major KV 330 Composed By – Wolfgang Amadeus Mozart 1 Allegro Moderato 4:04 2 Andante Cantabile 5:34 3 Allegretto 3:30 Impromptu Op. 142 No. 3 In B Flat Major D. 935 4 9:36 Composed By – Franz Schubert Impromptu Op. 142 No. 1 In F Minor D. 935 5 8:26 Composed By – Franz Schubert Ballade No. 1 In G Minor Op. 23 6 8:16 Composed By – Frédéric Chopin Rondo Capriccioso In E Major Op. 14 7 5:55 Composed By – Felix Mendelssohn-Bartholdy Scherzo In E Major Op. 16 No. 2 8 2:22 Composed By – Felix Mendelssohn-Bartholdy Etude De Concert No. 3 «Un Sospiro» 9 4:39 Composed By – Franz Liszt Hungarian Rhapsody No. 14 10 11:05 Composed By – Franz Liszt Allegro Barbaro 11 2:25 Composed By – Bela Bartok* Romanian Folk Dances 12 4:35 Composed By – Bela Bartok* Chant Perpétuel 13 2:12 Composed By – Zoltan Kodaly* Credits Liner Notes – Jean-Charles Hoffelé Piano – Annie Fischer Producer – Bruno Saint-Germain, Jean-Louis Percot Notes Recorded live in 1949 (tracks 1-4, 6) and 1951. Barcode and Other Identifiers SPARS Code: ADD Related Music albums to Live 1949-51 by Annie Fischer Igor Markevitch, Franz Schubert, Felix Mendelssohn-Bartholdy - Symphony No.8 "Unfinished" / Symphony No.4 "Italian" Sergei Rachmaninov - Plays Franz Schubert, Wolfgang Amadeus Mozart - Schubert Mozart Works for Violin and Orchestra Mordecai Shehori - Bach-Siloti・Handel・Beethoven・Chopin・Schubert-Liszt・Liszt F. Schubert - Sviatoslav Richter - Impromptu In A Flat Major, Op. 142 N 2 - Sonata No.19 In C Minor - Sonata No.21 In B Flat Major I Musici - Schubert / Mendelssohn - Rondo A-dur Für Violine Und Streichorchester - Fünf Menuette Und Sechs Trios Für Streichorchester / Symphonie Nr. 9 C-moll Wolfgang Amadeus Mozart, Franz Schubert Quartett Of Vienna - The Ten Celebrated String Quartets Ludwig van Beethoven, Joseph Haydn, Johannes Brahms, Frédéric Chopin, Felix Mendelssohn- Bartholdy, Franz Schubert, Wolfgang Amadeus Mozart - Rage Over a Lost Penny - Virtuoso Piano Pieces by Beethoven, Chopin, Brahms & Others.

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The Toronto Symphony Orchestra WALTER SUSSKIND, Conductor Guest Artist: ANNIE FISCHER, Pianist
1962 Eighty-fourth Season 1963 UNIVERSITY MUSICAL SOCIETY THE UNIVERSITY OF MICHIGAN Charles A. Sink, President Gail W. Rector, Executive Director Lester McCoy, Conductor Ninth Concert Eighty-fourth Annual Choral Union Series Complete Series 3382 The Toronto Symphony Orchestra WALTER SUSSKIND, Conductor Guest Artist: ANNIE FISCHER, Pianist TUESDAY EVENING, MARCH 12, 1963, AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Overture to ((Leonore," No.3 BEETHOVEN Triptych . MERCURE Concerto No. 3 for Piano and Orchestra Allegretto Adagio religioso Allegro vivace .ANNIE FISCHER, Pianist INTERMISSION Symphony No.4 in G major, Op. 88 DVORAK Allegro con brio Adagio Allegretto grazioso; molto vivace Allegro rna non troppo The University Musical Society has presented the Toronto Symphony Orchestra on three previous occasions: February 10, 1954; February 22, 1956, and March 15, 1961. The Steinway is the official piano of the University Mltsical Society. A R S LON G A V I T A BREVIS PROGRAM NOTES Overture to "Leonore," No.3 LUDWIG VAN BEETHOVEN Beethoven's only opera, Fidelia, or "Wedded Love," has been called a companion piece to the "Eroica" Symphony but the comparison migbt better have been made with its third overture, since in it th: dramatic content of the play-with its crisis--is sum marized in musical terms. The Lady Leonore, under whose name the work was first produced in Vienna, had been the subj ect of operas by Cherubini and Mehul, but it remained for Beethoven to raise her story to epic heights. With secondary incidents this was the tale: determined to rescue her husband Florestan from a political prison, where he is threatened with death, Leonore applies for work at the gaol, helps to dig a grave for him, and at last saves his life.
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ANNIE FISCHER Mozart Piano Concerto No.22 Schumann Piano Concerto Op.54
SWR T al ap n e i s g i r O 1958 • • 1959 D R E E M AST E R ANNIE FISCHER Mozart Piano Concerto No.22 Schumann Piano Concerto Op.54 Radio-Sinfonieorchester Stuttgart des SWR Hans Müller-Kray SWR Sinfonieorchester Baden-Baden und Freiburg Hans Rosbaud Luzidität und Innigkeit Annie Fischer spielt Mozart und Schumann Annie Fischer WOLFGANG AMADEUS MOZART (1756–1791) Annie Fischer steht für eine von klassischer geworden und hatte eine begeisterte Kritik Luzidität und tief empfundener, romantischer verfasst. 1937, 14 Jahre später, sollten die bei- Konzert für Klavier und Orchester Nr. 22 Es-Dur KV 482 34:07 Piano Concerto No.22 E flat Major K482 Innigkeit getragene Kunst als einzigartige Er- den heiraten. 1 scheinung innerhalb der großen ungarischen I Allegro 13:47 Pianistentradition. Geboren am 5. Juli 1914 in 1925 wurde Annie Fischer als Studentin Ar- 2 II Andante 9:35 Budapest in eine jüdische Familie, zeigte sie nold Székélys an der Franz-Liszt-Musikakade- 3 III Allegro. Rondo 10:33 früh herausragende musikalische Begabung. mie in Budapest aufgenommen, wo sie ab Bis heute kursieren allerdings falsche Anga- 1929 von Ern�ő�� Dohnányi, dem großen Kompo- Radio-Sinfonieorchester Stuttgart des SWR ben über ihre ersten Auftritte, die auch noch nisten und Pianisten, unterrichtet wurde und Hans Müller-Kray Eingang in die viel zitierten Nachrufe Allan Georg Solti (damals noch Györg Stern), Louis Kozinns in der New York Times und Niel Im- Kentner und Andor Foldes zu ihren Kommili- ROBERT SCHUMANN (1810–1856) melmans im Independent fanden: Weder trat tonen zählten. Während des Studiums debü- sie achtjährig erstmals öffentlich auf, noch tierte sie 1930 in Paris und 1931 in Rom.
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Music Council Welcomes Flutist Dora Seres
A monthly guide to your community library, its programs and services Issue No. 217, March 2007 Tax help Music Council welcomes flutist Dora Seres Continuing on Tuesdays through April 10, trained volunteers from the AARP Hungarian flutist Dora Ser- will be available to assist seniors with es won the 2005 Young Concert the preparation of their tax returns. Artists International Auditions in Bring last year’s return. No appoint- New York. She was also awarded ment necessary; no fee. 10 a.m. to 2 p.m the Summis Auspiciis Prize, The Alexander Kasza-Kasser Prize, the Orchestra New England Soloist Prize, the Fredericksburg Festival Library board position of the Arts Prize and the Usedom To be considered for a 5-year term on (Germany) Music Festival Prize. the Library Board of Trustees, you must The library’s Music Advisory be at least 18 years old, a Port Washing- Council hosts Ms. Seres on Sun- ton resident, and be able to attend meet- day, March 18 at 3 p.m. She’ll play ings at least twice each month with ad- classical compositions from Mo- ditional committee meetings as required. zart, Bartok and Poulenc Nominating petitions for this volunteer The Young Concert Artists position are available at the Administra- Series presented Ms. Seres’ re- tion Office Monday through Friday be- cital debuts at Carnegie’s Zankel tween 9 a.m. and 5 p.m., and must be Hall and at the Kennedy Center submitted by Monday, March 12. in Washington, D.C. In March 2006, Ms. Seres performed Vi- valdi’s Concerto for Two Flutes “Per eco” with Paula Robison at Citizenship Classes the Metropolitan Museum of Art.
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Fischer the Essential Collection the Essential Collection Annie Fischer
ANNIE FISCHER THE ESSENTIAL COLLECTION THE ESSENTIAL COLLECTION ANNIE FISCHER Ludwig van Beethoven: Sonata in F sharp major, Op. 78 (7:32) 1 I. Adagio cantabile. Allegro ma non troppo 4:34 2 II. Allegro vivace 2:58 Ludwig van Beethoven: Sonata in C minor, Op. 111 (25:39) 3 I. Maestoso. Allegro con brio ed appassionato 8:49 4 II. (Arietta) Adagio molto, semplice (e) cantabile 16:46 5 Wolfgang Amadeus Mozart: Rondo for Piano and Orchestra in D major K. 382 9:37 Allegretto grazioso 6 Franz Liszt: Sonata in B minor S. 178 31:36 Lento assai – Allegro energico – Grandioso – Andante sostenuto – Allegro energico Total time: 74:57 ANNIE FISCHER piano BUDAPEST SYMPHONY ORCHESTRA (5) ERVIN LUKÁCS Conductor AAD (1–4), ADD (5–6) Recording producers: János Mátyás and Dóra Antal (1–4), János Mátyás (5-6) Balance engineers: Endre Radányi and Judit Lukács (1–4), Ferenc Takács (5), Judit Lukács (6) Digital remaster: Judit Lukács Recorded on 1977–78 (1–4), April 5, 1965 (5) and January 9, 1953 (6) at Hungaroton Studio. Photo: MTI Fotó, László Várkonyi • Printing editor and cover design: Béla Ujváry Booklet editor: Enikő Gyenge • English translation: Erzsébet Mészáros ℗ 2014 Fotexnet Kft. © 2014 Fotexnet Kft. Catalogue No.: HCD 32730 • Made in Hungary This CD presents four works, a cut from the place. Nevertheless, she appreciated the so- extremely wide horizon of Annie Fischer’s called “minor”, less played pieces as well, such art which, though they do not show the full as e.g. the Sonata in F sharp major, Op. 78.
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95643 Digibooklet Lucerne Festival Vol. VIII
HISTORIC PERFORMANCES Annie Fischer Schumann Piano Concerto Philharmonia Orchestra | Carlo Maria Giulini Leon Fleisher Beethoven Piano Concerto No. 2 Swiss Festival Orchestra | George Szell Robert Schumann (1810–1856) Piano Concerto in A minor, Op. 54 Annie Fischer piano Philharmonia Orchestra | Carlo Maria Giulini LUCERNE, KUNSTHAUS, 3 SEPTEMBER 1960 Ludwig van Beethoven (1770–1827) Piano Concerto No. 2 in B-flat major, Op. 19 Leon Fleisher piano Swiss Festival Orchestra | George Szell LUCERNE, KUNSTHAUS, 29 AUGUST 1962 recorded live at LUCERNE FESTIVAL (Internationale Musikfestwochen Luzern) Two truths – Annie Fischer and Leon Fleisher in Lucerne How does a man play the piano? With strong hands; in a clear, unfussy, unsentimental and alert fashion; completely in control, free, measured and purposeful. A woman, on the other hand? She touches the piano delicately; loves the soft notes, the ornamen- tal and the decorative; she is a refined young lady, educated in salons and trained, by well-meaning teachers, to remain faithful to the musical text. If these clichés were to represent the truth, Annie Fischer would be a gentleman-pianist, whilst Leon Fleisher could be said to epitomise female musical virtues. If one hears them, one straight after the other (and not with an interval of two years, as was the case in Lucerne), one could indeed conceive such silly, and yet illuminating, ideas and ask oneself how these musical stereotypes have come to appear back-to-front. After all, a contemporary critic writing about Annie Fischer in the 1960s commented that her tone at the piano demonstrated “an astonishingly resolute steeliness for a woman”.
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YANG & DOVER PLAY DOHNÁNYI THURSDAY, JULY 23, 2020 GERALD R. FORD AMPHITHEATER CONCERT 7 PM Amy Yang, Piano Dover Quartet
YANG & DOVER PLAY DOHNÁNYI THURSDAY, JULY 23, 2020 GERALD R. FORD AMPHITHEATER CONCERT 7 PM Amy Yang, piano Dover Quartet Joel Link, violin Bryan Lee, violin Milena Pajaro-van de Stadt, viola Camden Shaw, cello Kerry McDermott, violin Clara Neubauer, violin Oliver Neubauer, violin Paul Neubauer, viola HAYDN String Quartet in D minor, Op. 76, No. 2, “Quinten” (20 minutes) Allegro Andante o più tosto allegretto Menuetto: Allegro ma non troppo Vivace assai BACEWICZ Quartet (1949) Allegretto – Allegro giocoso – Poco meno – poco meno – Tempo II Andante tranquillo Molto allegro DOHNÁNYI Quintet No. 1 for Two Violins, Viola, Cello and Piano in C minor, Op. 1 (30 minutes) Allegro Scherzo: Allegro vivace Adagio, quasi andante Finale: Allegro animato String Quartet in D minor, Op. 76, No. 2, “Quinten” (1796-1797) Joseph Haydn (1732-1809) Haydn was universally acknowledged as the greatest living composer upon his return to Vienna in 1795 from his second London venture; he was 63. Though his international renown had been founded in large part upon the success of his symphonies and keyboard sonatas, he repeatedly refused offers to compose further in those genres, and instead concentrated the creative energies of his later years on the string quartet and the vocal forms of Mass and oratorio. Except for the majestic Trumpet Concerto, his only instrumental compositions after 1795 were the six quartets of Op. 76, the two of Op. 77 and the unfinished torso of Op. 103 — they were the culmination of nearly four decades of experience composing in the chamber medium. “The eight quartets which he completed show no signs of flagging powers,” wrote Rosemary Hughes in her study of Haydn’s chamber music.
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On the Art of János Balázs "If You Have Heard János Balázs Perform
On the art of János Balázs "If you have heard János Balázs perform, you must have experienced a compelling and completely unique concert. He renders a 21st-century interpretation of classical music with spell-binding and superior technic and has a singular knack for capturing the audience. By doing so, he blurs the distance between the performer and his listener. His thematically unparallelled concerts and programme repertoire reach out to crowds - also the younger generations-, which he undertakes solely for the popularisation of classical music." He is keen to demonstrate his improvisation skills in various areas beyond the classical stage, such as jazz, world music, or folk music, which is always imbued with classical music's values and the 20th-century tradition of improvision. Music critiques highlight the delicacy and diverse colours of his piano playing, his unlimited dynamic scale and his fascinating virtuosity. Attending János Balázs’ concerts is a genuine time travel, as he evokes with full force the intimate ambience of the composers and pianists of the so-called 19th century golden age, like Franz Liszt or Frédéric Chopin. He is a returning artist of the Concertgebouw, Amsterdam, the Tchaikovsky Conservatory, Moscow, the Cologne Philharmonic, the Liszt Academy and MüPa in Budapest. He has given celebrated concerts on the stages of the Cité de la Musique, Palau de Musica, Barbican Centre, Wiener Konzerthaus and the Royal Conservatory. In the following season, he is going to collaborate with such famed orchestras and conductors as the Royal Philharmonic Orchestra, Peter Eötvös and the Orchestre de la Suisse Romande, Iván Fischer and the Royal Concertgebouworkest, Mikko Franck and the Auditorium de la Maison de la Radio France.
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Problems Facing Today's Pianists
1205Clavier_nxtbk.qxd 4/18/12 11:24 AM Page 24 : e g n e l l a h c Photo courtesy of Daniel Wnukowski. Photo courtesy of Daniel r Problems facing e today’s pianists e r An interview with Jacques Leiser by Pete Jutras a he twenty-first century is blessed to be an era with no shortage of talented young pianists, many of whom are armed with impressive technique and a commanding c repertoire. For the pianists themselves, this poses a particular challenge. With a seem- ingly endless supply of competition winners and recording artists facing dwindling audiences and shrinking commercial support for the arts, how can young pianists get noticed and parlay their talents into a sustainable living and a meaningful career? e TFor answers to this question, and ideas on the state of affairs facing pianists today, I interviewed Jacques Leiser, a manager, recording producer, and impresario with decades of experience in all facets of the music business. Mr. Leiser has had a long-term interest in launching careers, and he’s been involved h with some of the biggest in the last sixty years, including Sviatoslav Richter, Maurizio Pollini, Arturo Benedetti Michelangeli, Lazar Berman, Georges Cziffra, Julius Katchen, Annie Fischer, Dame Moura Lympany, Grigory Sokolov, and Krystian Zimerman, among others. T 24 CLAVIER COMPANION MAY/JUNE 2012 1205Clavier_nxtbk.qxd 4/18/12 11:24 AM Page 25 In your view, what are the obstacles facing pianists today? had to negotiate an advertisement in an established American Young pianists today face serious challenges in launching viable record magazine and arrange for an interview to appear in conjunc- careers.
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Current Review Annie Fischer plays Schumann: Piano Concerto, Op. 54 - Leon Fleisher plays Beethoven: Piano Concerto No. 2 aud 95.643 EAN: 4022143956439 4022143956439 International Piano (Benjamin Ivry - 2016.05.01) No laughing matter ‘Playing’ the piano never seems quite the right way of describing Annie Fischer at the keyboard. Sober, serious and uncompromising are the heroic qualities that she brought to her performances. Benjamin Ivry explores the life and career of an artist who looked tragedy unflinchingly in the eye, bringing a steely intensity to her music-making. In a typically thrilling concert performance from late in her career, a septuagenarian Annie Fischer played Beethoven’s Third Piano Concerto with the NHK Symphony conducted by Miltiades Caridis. In the 1989 video, the granitic Hungarian grandma laid down the law with uncompromising grandeur. One thinks of Irene Worth, the American actress long resident in the UK, whose tough-as-nails, omniscient Grandma Kurnitz in Neil Simon’s film Lost in Yonkers moved audiences. Beyond such matriarchal flamboyance and energy, Fischer’s performances were noted for their intense idiomatic understanding and devil-may-care absolutism, despite wrong notes. Her inspiration derived from the era of Artur Schnabel, during which the musical message was primordial, not the note-for-note perfection expected from studio recordings. There was something sublime in the sheer limpidity of her best solo work, as in a Brahms Sonata in F minor (on BBC Legends 4054-2), recorded at Edinburgh’s Usher Hall in 1961. Yet in Fischer’s renditions, especially from her later years, there can be a noteworthy absence of merriment or festivity in some of the more playful or witty passages, for example in Beethoven and Mozart.
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Rezensionen Für
Rezensionen für Annie Fischer plays Schumann: Piano Concerto, Op. 54 - Leon Fleisher plays Beethoven: Piano Concerto No. 2 aud 95.643 4022143956439 American Record Guide May / June 2016 (Alan Becker - 2016.05.01) Many will be familiar with Fischer’s 1960 studio recording of the Schumann with Klemperer. This one with Giulini dates from the same year and comes to us from the Lucerne Festival. The performances are similar, though few will be surprised that the sound (particularly the orchestra strings) is better on the studio recording. Still, both are more than acceptable, particularly if you like Fischer’s more aggressive way with the concerto. Fleisher’s way with the Beethoven is already well known from the studio set with Szell and the Cleveland Orchestra. That set is one of the marvels of Beethoven performance and has a recording that leaves nothing to be desired. This Beethoven 2 is similar, though few could make claims for its supremacy as an orchestral recording. The ad hoc ensemble plays well for Szell, and the piano sound here is quite good. Could I recommend purchase of this recording? Well, yes and no. It is certainly a must for admirers of these artists who must have every recording they ever made. No if you already have the studio recordings. Still, I was seduced once again by Fleisher’s marvelous playing. Audio 03/2016 (Andreas Lucewicz - 2016.03.01) Immer wieder bietet das Label Audite historische Trouvaillen, in diesem Fall zwei absolut hörenswerte Dokumente vom Lucerne Festival 1960: Schumanns Klavierkonzert mit Annie Fischer und dem Philharmonia Orchestra unter Carlo Maria Giulini sowie das zweite Klavierkonzert von Beethoven mit Leon Fleisher und dem Swiss Festival Orchestra unter George Szell.
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The 2010 Great Romantics Festival in Biography of the Composer
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