Annie Fischer

安妮·費(fèi)舍爾 （Annie Fischer，1914年7月5日－1995年4月10日）匈牙利古典音樂(lè)鋼琴家。
 
生平
 
費(fèi)舍爾出生于布達(dá)佩斯，就讀于同城的弗朗茨·李斯特音樂(lè)學(xué)院，師從多赫南伊·埃爾諾。1933年她在出生地贏得弗朗茨·李斯特國(guó)際鋼琴大賽。尤其是她的職業(yè)生涯，她主要在歐洲和澳大利亞演奏，極少出現(xiàn)在美國(guó)，終其一生只有兩次橫穿大西洋舉行音樂(lè)會(huì)。
 
她嫁給了名聲顯赫的評(píng)論家音樂(lè)學(xué)者阿拉達(dá)爾·托特（Aladar Toth，1898–1968）。他們同葬于布達(dá)佩斯。
 
費(fèi)舍爾是猶太人，二戰(zhàn)期間匈牙利加入軸心國(guó)后，1940年和丈夫逃到瑞典。戰(zhàn)爭(zhēng)結(jié)束后，1946年一同返回布達(dá)佩斯。她于1995年在那里去世。
 
她的演奏因“獨(dú)特的強(qiáng)烈程度”和“風(fēng)格輕松自如的樂(lè)句”（David Hurwitz），以及高超的技巧和精神深度，而聞名于世。她大受同行贊揚(yáng)，如奧托·克倫佩勒、 斯維亞托斯拉夫·里赫特。里赫特寫到“安妮·費(fèi)舍爾偉大的藝術(shù)家，充滿了崇高的精神和深厚的真情”。意大利鋼琴家毛利齊奧·波里尼贊道“孩子般的自然，直接和神奇”他從她的演奏中獲得。她的藝術(shù)體現(xiàn)在莫扎特、貝多芬、勃拉姆斯、舒伯特和舒曼，以及匈牙利作曲家如巴托克·貝拉，接連不斷獲得鋼琴家和評(píng)論家最高的贊揚(yáng)。
 
1950年代費(fèi)舍爾同奧托·克倫佩勒和沃爾夫?qū)?middot;薩瓦利希錄制了重要的錄音，但是感覺(jué)到任何藝術(shù)體現(xiàn)，缺乏聽眾時(shí)必然被不自然限制，如此藝術(shù)體現(xiàn)從來(lái)沒(méi)有“完成了的”。她保留至今的包括許多現(xiàn)場(chǎng)音樂(lè)會(huì)錄音，已經(jīng)通過(guò)CD和DVD發(fā)行（包括演繹貝多芬的“皇帝”協(xié)奏曲，可從YouTube獲取，和Antal Doráti指揮的貝多芬第三協(xié)奏曲）。她最偉大的遺產(chǎn)是錄制了貝多芬鋼琴奏鳴曲全集。她從1977年開始為此工作了15年。因?yàn)樽晕铱燎笸昝罒o(wú)瑕，她不允許在她的有生之年出版發(fā)行這套錄音，直到去世，這套錄音才以CD形式公開發(fā)行，并且廣受贊譽(yù)。
 
評(píng)價(jià)
 
“當(dāng)前的問(wèn)題是現(xiàn)有的20套貝多芬奏鳴曲全集錄音，沒(méi)有一套完全令人滿意。這并不出人意料：32首非同尋常的組成方式，從嚴(yán)謹(jǐn)?shù)墓诺渲髁x穿越到感情強(qiáng)烈的浪漫主義，最高程度樸素的表達(dá)作曲家的思潮。從十分簡(jiǎn)單的段落到苛求極致精湛技藝的那些，在他們中沒(méi)有人可以做到同等效力，但是一些人比其他人更接近，安妮·費(fèi)舍爾是所有人當(dāng)中最接近的” -- Alexander J. Morin
 
“1995年費(fèi)舍爾去世不久，Hungaroton唱片公司發(fā)行了費(fèi)舍爾完整的32首貝多芬鋼琴奏鳴曲錄音，費(fèi)舍爾為此工作了近20年，即便如此她也不認(rèn)為這些錄音適合發(fā)表。費(fèi)舍爾是感情強(qiáng)烈且強(qiáng)而有力的鋼琴家，她最強(qiáng)烈的反應(yīng)出內(nèi)心感觸到的靈感和驅(qū)力。這在工作上是一大優(yōu)勢(shì)，如貝多芬奏鳴曲“Hammerklavier”，無(wú)出其右。” -- Uncle Dave Lewis
 
 
Annie Fischer (July 5, 1914 – April 10, 1995) was a Hungarian classical pianist.
 
Biography
 
Fischer was born in Budapest, and studied in that city at the Franz Liszt Academy of Music with Ern? Dohnányi. In 1933 she won the International Franz Liszt Piano Competition in her native city. Throughout her career she played mainly in Europe and Australia, but was seldom heard in the United States until late in her lifetime, having concertized only twice across the Atlantic.
 
She was married to influential critic and musicologist Aladar Toth (1898–1968); she is buried next to him in Budapest.
 
Fischer, who was Jewish, fled with her husband to Sweden in 1940, after Hungary during World War II joined the Axis powers. After the war, in 1946, she and Toth returned to Budapest. She died there in 1995.
 
Her playing has been praised for its "characteristic intensity" and "effortless manner of phrasing" (David Hurwitz), as well as its technical power and spiritual depth. She was greatly admired by such contemporaries as Otto Klemperer and Sviatoslav Richter; Richter wrote that "Annie Fischer is a great artist imbued with a spirit of greatness and genuine profundity." The Italian pianist Maurizio Pollini praised the "childlike simplicity, immediacy and wonder" he found in her playing. Her interpretations of Mozart, Beethoven, Brahms, Schubert and Schumann, as well as Hungarian composers like Béla Bartók continue to receive the highest praise from pianists and critics.
 
Fischer made significant studio recordings in the 1950s with Otto Klemperer and Wolfgang Sawallisch, but felt that any interpretation created in the absence of an audience would necessarily be artificially constricting, since no interpretation was ever "finished." Her legacy today thus includes many live concert recordings that have been released on CD and DVD (including a performance of Beethoven's "Emperor" concerto available on YouTube, and a Beethoven Third Concerto with Antal Doráti conducting). Her greatest legacy, however, is a studio-made integral set of the complete Beethoven piano sonatas. She worked on this set for 15 years beginning in 1977. A self-critical perfectionist, she did not allow the set to be released in her lifetime but, since her death, it has been released on compact disc and widely praised.
 
Critical Praise
 
■ "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."
 
■ "Shortly after Fischer's death in 1995, the Hungaroton label issued a complete recording of Fischer in the 32 Beethoven Piano Sonatas. Fischer had been working on this set for the better part of two decades, but prior to that time she had not seen fit to release these recordings. Fischer was an intense and powerful pianist who responded most strongly to her own inner sense of inspiration and drive. In works where this approach was an advantage, such as the "Hammerklavier" Sonata of Beethoven, Fischer was second to none."
 
(wiki)
 
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by Uncle Dave Lewis
 
Hungarian pianist Annie Fischer made her debut at the age of 10 and studied with Ernst von Dohnányi at the Franz Liszt Academy of Music. Her performance of the Liszt Sonata in B minor won Fischer first prize at the 1933 Liszt International Piano Competition, but her concert career was barely underway when war broke out; Fischer fled to Sweden. Afterwards Fischer returned to Hungary, and although she made her New York debut in 1961, she was only seldom seen in the United States and based her career in continental Europe. In her native Hungary, Fischer was particularly well vaulted and was awarded the Kossuth Prize three times. Mozart and Beethoven were Fischer's bread and butter composers, but she also excelled in later Romantic repertoire and in a few modern works, most notably the Piano Concerto No. 3 of Béla Bartók.
 
Although regarded as one of the world's greatest pianists late in life, Fischer only seldom recorded, and disliked doing so. Shortly after Fischer's death in 1995, the Hungaroton label issued a complete recording of Fischer in the 32 Beethoven Piano Sonatas. Fischer had been working on this set for the better part of two decades, but prior to that time she had not seen fit to release these recordings. Fischer was an intense and powerful pianist who responded most strongly to her own inner sense of inspiration and drive. In works where this approach was an advantage, such as the "Hammerklavier" Sonata of Beethoven, Fischer was second to none.