Word: offing
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Dates: during 1960-1960
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No one in Paine Hall Tuesday evening at the conclusion of Egbert Fischer's piano recital expected any encores, and for good reason: absolutely nothing can follow a program consisting of the monumental last three Beethoven Sonatas. Indeed, few pianists have the courage--one might say the audacity--to offer...
In the opening Sonata, that of Opus 109, Mr. Fischer first demonstrated his strengths and weaknesses. After a somewhat uncertain beginning, probably the result of nervousness, he succeeded in conveying the dolce, expressivo tone of the first movement. The second section, however, seemed rather too prestissimo for his fingers, and...
The Sonata Opus 110 began auspiciously. Mr. Fischer's playing fulfilled two of Beethoven's three descriptions; it was cantabile (the melody line was beautifully brought out), it was con amabilita, yet it fell short of the molto expressive playing called for. Later the lyric and tranquil sections of the...
This weakness was not in evidence in the allegro molto movement of Opus 110; Mr. Fischer's touch was alternately feather-light and hammer-heavy, in the right places. Things went down-hill from there on in, however. The slow movement lacked nuances of expression, and the final fugue was...
It was after intermission, with the playing of the final Sonata Opus 111, that Mr. Fischer really electrified the audience. His playing was percussive in the opening torrent of notes; he moved effectively from lyric to appassionato passages; his fingers flew over the keyboard in the long runs and octave...