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Fischer – Salzburger Festspiele 1949 & 1951 – Enregistrements inédits / Unpublished Recordings

Maestro Editions qui a déjà publié le concert dirigé par Edwin Fischer lors du Festival de Strasbourg 1953, nous offre des inédits d’importance provenant cette fois du Festival de Salzbourg, où Fischer dirige les Wiener Philharmoniker. Il s’agit de la totalité du concert du 30 juillet 1951 (Mozart Concerto n°24 K.491, Haydn Symphonie n°104 et Beethoven Concerto n°1 Op.15) et du seul enregistrement qui subsiste du concert du 1er août 1949 (Beethoven Concerto n°4 Op.58).

Pour plus de détails, suivez ce lien:

https://hdarchivesconcerts.fr/fischer-salzburger-festspiele-1949-1951-enregistrements-inedits-unpublished-recordings/

Maestro Editions, which has already published the concert conducted by Edwin Fischer at the 1953 Strasbourg Festival, is now offering us some important previously unreleased material from the Salzburg Festival, where Fischer conducts the Wiener Philharmoniker. It is comprised of the entire concert of 30 July 1951 (Mozart Concerto No. 24 K.491, Haydn Symphony No. 104 and Beethoven Concerto No. 1 Op.15) and of the only surviving recording of the concert of 1 August 1949 (Beethoven Concerto No. 4 Op.58).

For more information, follow this link:

https://hdarchivesconcerts.fr/fischer-salzburger-festspiele-1949-1951-enregistrements-inedits-unpublished-recordings/

Une réponse sur « Fischer – Salzburger Festspiele 1949 & 1951 – Enregistrements inédits / Unpublished Recordings »

Many thanks for the alert on this highly important historical release featuring Edwin Fischer – a great musician whose instrument happens to be the piano. Pianistically he could be rather uneven, especially in his later years, but musically he is always unfailingly perceptive, probing and illuminating. Having bought and heard at least some of these live Salzburg concerts, I would say these performances find him in good form pianistically and musically vivid and intense. The Mozart K.491 is a memorable rendition, full of burning intensity and pathos. The Haydn Sym. 104 is stylistically grand, big-boned and quite close to Furtwängler’s 1950 Buenos Aires performance. The Beethoven PC1 is special mainly for being one of the only two versions available from Fischer. The real highlights for me are the Mozart K.491 and the Haydn Sym. 104.

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