Annie Fischer

安妮·费舍尔 （Annie Fischer，1914年7月5日－1995年4月10日）匈牙利古典音乐钢琴家。
 
生平
 
费舍尔出生于布达佩斯，就读于同城的弗朗茨·李斯特音乐学院，师从多赫南伊·埃尔诺。1933年她在出生地赢得弗朗茨·李斯特国际钢琴大赛。尤其是她的职业生涯，她主要在欧洲和澳大利亚演奏，极少出现在美国，终其一生只有两次横穿大西洋举行音乐会。
 
她嫁给了名声显赫的评论家音乐学者阿拉达尔·托特（Aladar Toth，1898–1968）。他们同葬于布达佩斯。
 
费舍尔是犹太人，二战期间匈牙利加入轴心国后，1940年和丈夫逃到瑞典。战争结束后，1946年一同返回布达佩斯。她于1995年在那里去世。
 
她的演奏因“独特的强烈程度”和“风格轻松自如的乐句”（David Hurwitz），以及高超的技巧和精神深度，而闻名于世。她大受同行赞扬，如奥托·克伦佩勒、 斯维亚托斯拉夫·里赫特。里赫特写到“安妮·费舍尔伟大的艺术家，充满了崇高的精神和深厚的真情”。意大利钢琴家毛利齐奥·波里尼赞道“孩子般的自然，直接和神奇”他从她的演奏中获得。她的艺术体现在莫扎特、贝多芬、勃拉姆斯、舒伯特和舒曼，以及匈牙利作曲家如巴托克·贝拉，接连不断获得钢琴家和评论家最高的赞扬。
 
1950年代费舍尔同奥托·克伦佩勒和沃尔夫冈·萨瓦利希录制了重要的录音，但是感觉到任何艺术体现，缺乏听众时必然被不自然限制，如此艺术体现从来没有“完成了的”。她保留至今的包括许多现场音乐会录音，已经通过CD和DVD发行（包括演绎贝多芬的“皇帝”协奏曲，可从YouTube获取，和Antal Doráti指挥的贝多芬第三协奏曲）。她最伟大的遗产是录制了贝多芬钢琴奏鸣曲全集。她从1977年开始为此工作了15年。因为自我苛求完美无瑕，她不允许在她的有生之年出版发行这套录音，直到去世，这套录音才以CD形式公开发行，并且广受赞誉。
 
评价
 
“当前的问题是现有的20套贝多芬奏鸣曲全集录音，没有一套完全令人满意。这并不出人意料：32首非同寻常的组成方式，从严谨的古典主义穿越到感情强烈的浪漫主义，最高程度朴素的表达作曲家的思潮。从十分简单的段落到苛求极致精湛技艺的那些，在他们中没有人可以做到同等效力，但是一些人比其他人更接近，安妮·费舍尔是所有人当中最接近的” -- Alexander J. Morin
 
“1995年费舍尔去世不久，Hungaroton唱片公司发行了费舍尔完整的32首贝多芬钢琴奏鸣曲录音，费舍尔为此工作了近20年，即便如此她也不认为这些录音适合发表。费舍尔是感情强烈且强而有力的钢琴家，她最强烈的反应出内心感触到的灵感和驱力。这在工作上是一大优势，如贝多芬奏鸣曲“Hammerklavier”，无出其右。” -- 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 Ernő 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.