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known for his passionate playing style that often sacrificed technical obedience to stylistic expression, was a mentor and significant teacher to Alfred Brendel--- one of the least license-taking pianists I can think of.
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I can honestly say that his "accuracy" is certainly better than Schnabel's, but still, there's Annie Fischer and the end of the journey.
Backhaus, Solomon, Gilels, and Richter. No longer do I have a "favorite:" I find something different to cherish in each one's interpretation, appreciating first one, then another, over time.
As time goes on, I feel that same way over a wider range of repertoire and a wider range of performances. There are still exceptions of course! ;-)
point" of listenership for that particular interpretation or because I'm becoming more enlightened. Yeah, I'm going with "tipping point."
. . . i.e., more ship-shape in the technical department than Fischer was, yet with more life than Brendel often showed. ;-)
It's an interesting topic though concerning the influence of teachers on their students. I think of a couple of Schnabel students, Rudolf Firkusny and Leon Fleisher, who both show Schnabel's influence in their own playing (e.g., the general propulsive approach, not too much "smelling of the roses", etc.). I like the playing of both of them better than I do that of Schnabel himself - I especially like the playing of Firkusny, who added a mastery of tonal coloration to the basic Schnabel technical arsenal. (Check out Firkusny's Kinderszenen or Chopin B-minor Sonata - and Firkusny's Waldstein Sonata is very similar to Schnabel's, except that things are more tonally differentiated and under better general control!).
(to me) power is difficult to describe. It feels "right." I'm not aware of notes or playing, itself: I just get lost in the music, the experience. The beauty of Schubert and Beethoven's great music seems to be distilled and shared. But that's not really it... it's an emotional connection that isn't surpassed by any more technical playing.
Sometimes I think having too much technical knowledge, as a listener, is a drawback to just enjoying. Perhaps that's what comes to mind when I hear, about a pianist, "She's a musician's musician."
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j
I'd start with the greatest hits: "Moonlight" and "Pathetique" and see if you find yourself on the edge of your seat. I did.
Fischer's choices of tempi, transitions, phrasing or "colors" haven't yet distracted from the sheer enjoyment of Beethoven's creations. It all sounds so "right." Slow mov'ts hypnotic but not fussy. Outer movements an exhilarating athletic romp.
I'm saving Hammerklavier and Op 111 for last.
d
All I can say for myself is that, as I've become more and more aware of (and exposed to) the various technical aspects of performance or composition, it has made me appreciate the music and surrender to it emotionally even more than I had before. People could be different in this respect.
I would also say that if the playing isn't to a certain technical standard, then it becomes distracting, and actually prevents emotional surrender. That "certain technical standard" no doubt varies with each listener.
may be a blessing, in some regards.
s
About three years after Fischer's death, I was introduced to his playing by my teacher at that time, who was a good friend of Fischer's and missed him badly. He played for me private tapes that he had recorded on Fischer's visits.
I was told not to expect great accuracy, but that the sheer musicality more than made up for the slips; sadly, there was a drinking problem (as with so many musicians) which grew worse in Fischer's later years.
I have been a fan of Edwin Fischer's recordings ever since someone gave me his 1960s EMI recording of Beethoven Sonatas 8 and 23. However, his earlier recordings are much better, especially his Well-Tempered Clavier (first complete recording, I believe) and Mozart concertos.
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