It's certainly one of my favorites. However, I didn't mention it here, because, as you know, we can't repeat a pianist, and Moravec will turn up later in this mini-series!
As I said, both recordings are good, but the earlier one finds Fischer on better form. Still, he was unique, and we really do need a complete and systematic reissue of his complete commercial recordings all gathered under one roof.
Thanks again for an interesting episode! I need to check out the Biret recording. E Fischer was great and I really like his interpretation. But everyone wants to come up with their own favorites, and I would like to mention another Fischer - that is Annie Fischer. I remember a recording by her - I don't know which one, I think she did several - that was dramatic in the first mov. without extreme tempi, and the second mov. had great singing quality and storytelling, and was not too slow (can be a problem).
Annie Fischer will appear much later in this series - spoiler alert! Remember, I can't repeat a pianist, so I saved her for another sonata way up ahead! But, yes, her "Pathetique" is indeed special, I totally agree with you.
First imprint was my first teacher, (step-grandmother) playing the first movt. for me. I was fascinated. Sorry you had such a negative introduction from your friend. Not long after, she and Grandpa bought me Rubinstein's LP with the Les Adieux and Moonlight. She studied with a Godowsky pupil named Bertha Wilbur, who I've never heard mention of anywhere else. I've had a number of recordings of it since, I'll just mention one by the earliest deceased (1942) recorder of it I know of, the Australian William Murdoch. On the fast side and fiery. The main theme of the Ist movt. made its appearance at first in one of B's three Sonatas he composed at the age of twelve, I think. (The first three in the Henle Klavierstucke edition, I no longer have it so can't pinpoint it for you.) I had Biret's Berioz-Liszt Symphonie Fantastique years ago.
Yes, you are right about that main theme, I had forgotten that! And speaking of William Murdoch, his name will be coming up in this mini-series as a historic recording suggestion.
I personally like the introduction repeated, but it's not essential. Still, it works best when the performer brings it off with the right power and conviction, such as (you guessed it) Rudolf Serkin.
Thanks for the Biret tip. So much to enjoy.
My pleasure!
Moravec's is the best Pathetique I have ever heard.
It's certainly one of my favorites. However, I didn't mention it here, because, as you know, we can't repeat a pianist, and Moravec will turn up later in this mini-series!
I imprinted on Fischer’s LP version because it happened to be the first recording I encountered. Now I’ll check out his earlier version. Thanks!
As I said, both recordings are good, but the earlier one finds Fischer on better form. Still, he was unique, and we really do need a complete and systematic reissue of his complete commercial recordings all gathered under one roof.
Thanks again for an interesting episode! I need to check out the Biret recording. E Fischer was great and I really like his interpretation. But everyone wants to come up with their own favorites, and I would like to mention another Fischer - that is Annie Fischer. I remember a recording by her - I don't know which one, I think she did several - that was dramatic in the first mov. without extreme tempi, and the second mov. had great singing quality and storytelling, and was not too slow (can be a problem).
Annie Fischer will appear much later in this series - spoiler alert! Remember, I can't repeat a pianist, so I saved her for another sonata way up ahead! But, yes, her "Pathetique" is indeed special, I totally agree with you.
First imprint was my first teacher, (step-grandmother) playing the first movt. for me. I was fascinated. Sorry you had such a negative introduction from your friend. Not long after, she and Grandpa bought me Rubinstein's LP with the Les Adieux and Moonlight. She studied with a Godowsky pupil named Bertha Wilbur, who I've never heard mention of anywhere else. I've had a number of recordings of it since, I'll just mention one by the earliest deceased (1942) recorder of it I know of, the Australian William Murdoch. On the fast side and fiery.
The main theme of the Ist movt. made its appearance at first in one of B's three Sonatas he composed at the age of twelve, I think. (The first three in the Henle Klavierstucke edition, I no longer have it so can't pinpoint it for you.)
I had Biret's Berioz-Liszt Symphonie Fantastique years ago.
Yes, you are right about that main theme, I had forgotten that! And speaking of William Murdoch, his name will be coming up in this mini-series as a historic recording suggestion.
What is your view on the first movement repeat? Should it include the introduction or should that be verboten?
I personally like the introduction repeated, but it's not essential. Still, it works best when the performer brings it off with the right power and conviction, such as (you guessed it) Rudolf Serkin.