安妮菲舍尔－－1961，爱丁堡节日
出生于1914年，8岁初次登场演奏贝多芬的C大调钢琴协奏曲。丈夫1968年死于吸烟相关性疾病。安妮自己是个一根接一根的吸烟者，被戏称为“安妮烟灰缸”。丈夫死后，安妮更加的遁世隐居了，晚期她常常一年才举行12个独奏会。
布拉姆斯的F小调奏鸣曲是一部难以驯服的作品，它的成功阐释困惑了许多的钢琴家。通常第一个动机就很难起步，太快会变得毛糙和吓人，太慢会变得沉重而尴尬。安妮控制得很完美。线条柔顺而温暖，音符交响性的展开，用一种完全自然的方式。 她有一套贝多芬的钢琴奏鸣曲，不知道全不全？
录音如何更是茫然了 70年代中期，她在布达佩斯录了整套贝多芬奏鸣曲（a cycle of all the beethoven sonatas），这使得匈牙利厂牌的hungaroton代理了一系列她的录音，以保存她的演绎。这些奏鸣曲被适时地录了下来，不过安妮从来没有授权这些录音的发布，直到1995她死后才可以发行。
许多年来，安妮菲舍尔的可得到的录音只有一个很好的莫扎特协奏曲系列，录制于50年代后期。 Annie Fischer
Brahms: Piano Sonata No. 3 in F minor, Op. 5
Bartok: 15 Hungarian Peasant Songs
Liszt: Trois Etudes de concert, S144
Dohnanyi: Rhapsody in C major, Op. 11 No. 3
Usher Hall, Edinburgh, 27 August 1961
"In its truly symphonic breadth, its gigantic power and its almost painful intimacy, her playing of the Brahms F minor Sonata here is unsurpassed..."
BBC Music Magazine EMI出过一个廉价4碟套装（法国版），贝奏8、14、18、24、21、30、32，舒伯特奏鸣曲D960即兴曲D935，舒曼幻想曲、狂欢节、克莱斯勒偶记和童年情景，单声道为主。很难想象一个女性弹琴有如此的气魄！ 全集
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http://www.classical.net/music/recs/images/h/hgr31633.jpg The current issue of Opus lists 20 complete sets of the Beethoven sonatas, and none of them is entirely satisfactory. This is not surprising; these 32 extraordinary compositions range from strict classicism through passionate romanticism to the most austere expressions of the composer's thought, from quite simple pieces to those demanding the utmost virtuosity, and nobody can be equally effective in all of them. But some come closer than others, and Annie Fischer comes closest of all.
Fischer (1914-95) was Hungarian, a child prodigy who quickly established an international reputation. She only played in the US for one or two seasons, so we know her work mainly from her relatively few recordings, but those who heard her in concert speak in glowing terms of the spontaneity, power, and beauty of her performances, of her passionate musicality, and of the intensity of her communication with her audiences. She depended always on the inspiration of the moment, never playing a piece the same way twice, and she disliked the emotional sterility of the recording studio.Her way of dealing with this problem was typically idiosyncratic: she recorded only in short takes, repeating them many times in a search for expressive precision (rather than technical perfection), and reluctantly allowing them to be spliced together - though you'd never know it from the seamless flow of the music on these discs.
The provenance of these recordings is unclear. They were commissioned by Hungaroton following a series of concerts in 1976/77 in which she played all the sonatas, and she continued to work on them until the end of her life.Never satisfied, she refused to allow their release, and the program booklet says that "final repairs" were made after her death. In any event, what we hear is quite remarkable - deeply felt, very personal, powerful, and passionate. There are felicities at very turn, far too many to list here. Her tempos are rather fast but never hurried, and her ability to attend to details while maintaining tension, to shape a phrase within a solid framework, and to give natural expression to the spirit of the music, are altogether exceptional.
The only other set that is comparable in musical terms is Schnabel's, but its 1930s sound disqualifies it for most of today's listeners. Goode is generally more ingratiating, Kempff lighter and more deft, Frank and Taub more stolid and Germanic; all of these are really very good, but none of them rises to Fischer's level of consistent excellence. The only drawback to her set is the somewhat dry and hard-edged sound of the piano, but that's easily overcome by the sheer beauty of her performances. 那只敏捷的棕毛狐狸跃过那只懒狗。:D EMI与Hungaroton出的9张那套是否相同？ 最初由 老唱片 发表
EMI与Hungaroton出的9张那套是否相同？ 应该不是。hungaroton的唱片是录制于70年代中期，EMI的录音是1957年到1961年之间。NO.8（1958）、NO.14（1958-1959）、NO.18（1961）、NO.24（1958）、NO.21（1957）、NO.30（1958）、NO.32（1958），地点都是伦敦阿比路第三号录音室。 版主买一套回来听听！ 哪里有？:confused: 感觉安妮的贝多芬奏鸣曲非常好，气势比吉列尔斯不差，甚至有过之。
听说李源那里能买到。
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