Interesting Playing By Annie Fischer

Press, Volume CVIII, Issue 31661, 23 April 1968, Page 16

Interesting Playing By Annie Fischer

The recital given in the Civic Theatre last evening by Annie Fischer, a Hungarian pianist, was fairly well attended; it was a pity that there were any empty seats for she aroused much enthusiasm in her hearers who seemed to be loath to let her interesting playing come to an end.

She began her very worthwhile programme with Handel’s Chaconne in G major, a set of variations, ranging widely in type of movement, of colour, and of ornamentation, but keeping a unity in underlying structure and in dignity in the grand manner. Miss Fischer brought roundly ringing tone, of possibly surprising size for music of the period, to the robust sections, contrasting this with velvety sounds of delicate texture. Her playing had convincing appreciation of the architecture of the work, and polished finish in every small detail. Haydn’s Sonata in E minor was played with exemplary clarity of line in the first movement, and with moving depth of feeling in the second. The main theme here was consolatory in character, and led smoothly to the merry-hearted rondo which rippled and sparkled with infectious gaiety. Miss Fischer’s classic moulding of phrasing was a delight. Clarity Of Detail

She used impressively massive tone in the first movement of Beethoven’s “Waldstein” Sonata. Muttering threat and soaring triumph both made their claims on the hearers’ emotions, and intensity of feeling tore this way and that. Every detail of the playing was clear; and while there can be many views with regard to the interpretation of this movement there was no doubt that Miss Fischer would be able to give valid reason fnr every asneci of b er reading The short middle section hung like a bridge across a deep ravine and from it the near and distant landscanes could be observed in tower-

ing beauty. Miss Fischer began the last movement with lyric gentleness—a mood reappearing several times with lovely effect. Strength piled on strength as the music led to tremendous climax. Her playing, whether in idyllic or tempestuous character, always had an air of experienced authority. The second part of the programme began with Four Impromptus by Schubert. The first, in F minor, began with powerful playing which was followed by soaring singing against a rippling murmur of accompaniment This was interpreted with poetic finesse. Rhapsodic developments both in martial and lyrical style were unfolded with stylistic warmth. The second Impromptu in A flat sang with appealing serenity, and its contrasting trio was played with a wide range of expression, giving sometimes even a hint of menace which disappeared in the tranquility prevailing in the repeat of the first subject. Country Journey The exhilarating variations of the Impromptu in B flat were a delight to hear, and were like diversified scenes in a journey through familiar countryside. The fourth Impromptu began as a country dance of vigour and abandon, leading to cascades and clouds of spray with sunlight creating miniature rainbows. The programme ended with the “Marosszek Dances” by Kodaly, beautiful works inspired by Hungarian folk music. The introduction seemed to set a scene of rugged and mountainous countryside and against this the dances developed with merry piping as from flutes leading Ito wild leapings and stark ; accompanimental figures, j However, the prevailing tone of the work was that of joy coming to a splendid song of triumph at the end.