Fischer's WTC on Pearl
Ramon Khalona
Bach's WTC (Book I) plus other pieces (transferred by Seth Winner). I
have a few questions:
1) Are these from the same source as the EMI recordings? (Can anyone
compare the two recordings?)
2) Has Book II been released on Pearl?
[I've been looking for the EMI set for years, but it's OOP]
Thanks for any answers.
--
Ramon Khalona "Die Sechste ist die Keckste"
Carlsbad, California - Anton Bruckner -
samir ghiocel golescu
I have EMI's set (3 CD, filled at the limit, one of the Preludes and
Fugues was divided between two discs...) and I must say that I was
disappointed with the transfers. As in many "References" from that period,
too much filtering, constricted sound... Seth Winner's _should_ be better!
I didn't listen to them and probably I'll be unable to order them for a
while.
Best regards,
S.G.
Christian Scheen
>Last night I saw a Pearl 2-CD set that has Edwin Fischer's recording of
>Bach's WTC (Book I) plus other pieces (transferred by Seth Winner). I
>have a few questions:
In my opinion, these discs are amongst the true gems of this year's
re-issues...
>1) Are these from the same source as the EMI recordings?
Yes, but the complete (see below) Pearl re-issue contains
all of Edwin Fischer's "official" Bach recordings.
>(Can anyone compare the two recordings?)
I can't; I've never heard the EMI transfer. I cannot imagine
a more honest transfer than Pearl's. The discs are also well-
filled (all over 70', IIRC).
>2) Has Book II been released on Pearl?
Yes: again a two-CD set. I'll have details tomorrow morning.
>[I've been looking for the EMI set for years, but it's OOP]
Not as far as I know (at least here in Europe, though). I'm
pretty sure that an EMI set is patiently waiting on the shelves
of the local (Liège) FNAC at the time of writing!
Best wishes,
Christian Scheen.
Christian Scheen
- WTC Book II BWV 870-93
- Fantasia and Fugue BWV 904
- Prelude and Fugue BWV 552
(Busoni's transcription)
2-CD set: Pearl (1998) GEMS 0017
Ramon Khalona
Thanks very much for the information.
ESH Tooter
the store is not always available online.
Fischer seems to have fared particularly poorly in CD transfers. I've stopped
buying reissues as they have been consistently poorer than my old, scratched
LPs. I'd be curious to know which reissues have quality sound.
Tooter
Simon Roberts
: The EMI set has been at Tower in NYC in the past year. Of course what is in
If you're talking about Fischer performances generally, not just WTC, his
Schubert Impromptus on Testament (haven't heard the APR) sound impressive
(expecially compared to the awful Dante) and, heard on their own, so do
the two APR Mozart concerto discs and the Beethoven disc on Pearl.
Simon
Seth Winner
Actually, I had made a transfer 4 years ago, that I had not found
satisfactory because of the limited analogue signal processing available at
the time, as well as only having CEDAR's mono de-clicker. That initial
transfer was the result of Teri Towe and myself being disappointed with the
EMI/Reference CD issue which was the same as its LP counterpart......It
wasn't until early 1997 that I felt that I could tackle this project with
confidence using the digital signal processing available from CEDAR, and the
SADIE digital editor. We finally got a properly edited St.Anne's Prelude and
Fugue, which was never edited right in the Griffith transfer on Japanese
COLH lp's, nor the Hardwick transfer in the above-mentioned issue, or the
issue on an early Pearl CD where some notes were completely edited out
between sides 3 & 4!!!!! We also joined sides 2 & 3, which is between the
Prelude & Fugue, as Busoni instructed Egon Petri to do. (I'm referring to
the old mono Westminster record Petri made in the mid-1950's). If anyone
else has any further inquiries, you can also get in contact with me at my
e-mail addres....Seth B. Winner
Christian Scheen wrote in message <75abpd$n...@aix4.segi.ulg.ac.be>...
ESH Tooter
<<If you're talking about Fischer performances generally, not just WTC, his
Schubert Impromptus on Testament (haven't heard the APR) sound impressive
(expecially compared to the awful Dante) and, heard on their own, so do
the two APR Mozart concerto discs and the Beethoven disc on Pearl.>>
Thanks so much for the tips. I bought the Testament Impromptus after hearing
them on a preview disk. They are all that you have indicated. I will
definitely get the others based on your recommendation.
Tooter
rkha...@adnc.com
"Seth Winner" <Seth.B...@worldnet.att.net> wrote:
> Thanks Chris!!!!
> Actually, I had made a transfer 4 years ago, that I had not found
> satisfactory because of the limited analogue signal processing available at
> the time, as well as only having CEDAR's mono de-clicker. That initial
> transfer was the result of Teri Towe and myself being disappointed with the
> EMI/Reference CD issue which was the same as its LP counterpart......It
> wasn't until early 1997 that I felt that I could tackle this project with
> confidence using the digital signal processing available from CEDAR, and the
> SADIE digital editor. We finally got a properly edited St.Anne's Prelude and
> Fugue, which was never edited right in the Griffith transfer on Japanese
> COLH lp's, nor the Hardwick transfer in the above-mentioned issue, or the
> issue on an early Pearl CD where some notes were completely edited out
> between sides 3 & 4!!!!! We also joined sides 2 & 3, which is between the
> Prelude & Fugue, as Busoni instructed Egon Petri to do. (I'm referring to
> the old mono Westminster record Petri made in the mid-1950's). If anyone
> else has any further inquiries, you can also get in contact with me at my
> e-mail addres....Seth B. Winner
Dear Mr. Winner:
Thanks very much for your comments on the new Fischer transfers. Could you
be a little more specific on the following,
a) Are the same sources used as for EMI or did you use alternative
sources/copies?
b) Could you comment a little on audible differences between the EMI and
Pearl sets?
Your help is greatly appreciated. I also wish to thank you (as I'm sure
others would like to) for your excellent work on historical reissues,
particularly the Budapest recs. of Beethoven's Quartets.
Best Wishes,
Ramon Khalona
Managua, Nicaragua
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Deryk Barker
: Edwin Fischer plays Bach -- volume II.
:
: - WTC Book II BWV 870-93
: - Fantasia and Fugue BWV 904
: - Prelude and Fugue BWV 552
: (Busoni's transcription)
:
: 2-CD set: Pearl (1998) GEMS 0017
And very wonderful it is.
--
|Deryk Barker, Computer Science Dept. | Music does not have to be understood|
|Camosun College, Victoria, BC, Canada| It has to be listened to. |
|email: dba...@camosun.bc.ca | |
|phone: +1 250 370 4452 | Hermann Scherchen. |
Seth Winner
Deryk Barker wrote in message <76emo7$gf2$1...@news.islandnet.com>...
Deryk Barker
: Thank you Derek...It's nice to know that my work is
: appreciated....Seth.
In my pantheon of restoreers of historical material (IMHO one of the
most vital jobs around) you and Mark Obert-Thorn rank right up there.
Thank *you*.
Deryk.
ESH Tooter
absolutely blown away by the three-dimensionality of the sound which puts my
old Japanese Angel LPs to shame. The result is a new appreciation for the
rhythmic excitement in Fischer's playing. The Fantasy in a is a real
knock-out.
I also brought back Petri's recording of the Chromatic Fantasy & Fugue. His
huge technique reminds me of Richter, but when put beside Fischer, there is no
question which I prefer. Petri's playing is exuberant but lacks any inwardness
or introspection. In contrast, Fischer's becomes a deeply personal statement
that I will happily go back to often.
If Seth Winner is still tuned in, I have a question: The CD dates the HMV
Bach/Marcello Adagio as from 1931. This is the same year in which Fischer was
also recording for Electrola. Another Pearl CD I have dates the Bach/Marcello
as from the same day and month but from 1933. Logic would seem to suggest the
later date. Which is the correct date?
I will be eagerly watching for volume 2 in this series. Whatever the dates,
keep up the good work. It would be great to have all my favorite Fischer
similarly unflattened.
Andy Evans
>absolutely blown away by the three-dimensionality of the sound which puts
my
>old Japanese Angel LPs to shame. The result is a new appreciation for the
>rhythmic excitement in Fischer's playing
I grew up with Fischer on 78s, but haven't listened to him for 40 odd years
so can't remember the playing. I currently have and enjoy, Gould, Feinberg
and Nikolaeva. I like all three for different reasons. Would I get any more
out of Fischer than those three? If so what sort of qualities? Andy
John Harkness
Andy Evans wrote:
Well, he's a LOT slower than Nikolaeva and most of, though not all, of Gould.
John
samir ghiocel golescu
On Mon, 4 Jan 1999, Andy Evans wrote:
[ESH Tooter]
> >I was in NYC and purchased the Pearl Fischer (teehee) volume 1. I am
> >absolutely blown away by the three-dimensionality of the sound which puts
> my
> >old Japanese Angel LPs to shame. The result is a new appreciation for the
> >rhythmic excitement in Fischer's playing
>
[Andy Evans]
> I grew up with Fischer on 78s, but haven't listened to him for 40 odd years
> so can't remember the playing. I currently have and enjoy, Gould, Feinberg
> and Nikolaeva. I like all three for different reasons. Would I get any more
> out of Fischer than those three? If so what sort of qualities? Andy
I'm glad to hear about the new Pearl transfer--the EMI "Reference" three
CD set was, as I wrote here before, disappointing in terms of "realism"
and spaciousness. I hope to buy sometime in the future the new sets. The
Chromatic Phantasy and Fugue was already on a different, much better
transferred than the WTC, EMI CD. It is one of the greatest
performances. Fischer adopts some of the Busoni "rewritings", with the
"organ-klang" ideal in mind more than the harpsichord.
Regarding the WTC, let me say that, despite my great admiration for Edwin
Fischer, rightfully named by an Italian critic a "Furtwangler della
tastiera", I find his WTC somehow uneven, with some of the pieces
obviously learned in a hurry and with other conceived for a lifetime. The
albums DESERVE very much to be bought because the "very successful"
performances are many enough and some of them are the best ever recorded
(e.g. the B Flat Minor Prelude in the first volume, or the B Minor Prelude
of the same, where Fischer plays, "alla Busoni" again, the left hand in
staccato octaves, suggesting a soft organ pedal register). Other pieces
are played strangely fast, hurried sometimes, as Fischer would not know
too well what to do with them. It is a touching example of sincerity.
Fischer can not fake his being in sympathy with a piece. He either is or
not. And when he is, his music possesses a compelling quality of childish
purity and oldish wisdom.
I don't remember who said that after listening Fischer's Bach one could
remain an agnostic but not an atheist anymore...
Regards,
S.G.
Alain
> I don't remember who said that after listening Fischer's Bach one could
> remain an agnostic but not an atheist anymore...
Whoever it was was probably neither.
alain
Simon Roberts
: samir ghiocel golescu wrote:
Right; anyway, didn't work on me....
Simon
ESH Tooter
Andy Evans wrote:
<<I grew up with Fischer on 78s, but haven't listened to him for 40 odd years
so can't remember the playing. I currently have and enjoy, Gould, Feinberg and
Nikolaeva. I like all three for different reasons. Would I get any more out of
Fischer than those three? If so what sort of qualities? Andy>>
Andy, I think by now you may know I share your love of Gould, Feinberg and
Nikolaeva. At least I have written as much in other threads you have
contributed to. I'm not sure how much you remember after 40 years, but the
perf's are very different from those mentioned and also very beautiful. If I
had to take one, it would not be the Fischer. However, I don't and won't.
As to S.G.'s comments as to Fischer's unevenness, I have not yet been through
it all in the new release. I've always thought that as the first to record
the WTCV in its entirety, Fischer's unusual ideas, some of which don't quite
work, were as a result of his pioneering role. As I go through these again, I
will keep your comments in mind.
Allowed only four on my desert island, the fourth would be Landowska, not
Fischer. Landowska might even be 2nd or 3rd.
Such a nasty ratings game I play :-/
T.
sar...@my-dejanews.com
I saw the Landowska Book II at Academy Records in NYC last year, used and
dusty, for $30 or maybe even $35. I asked them to confirm the price, given
that this is ordinarily a mid-priced set, about $30 new. THey said, call or
come back tomorrow, to speak to the pricing guy named Scott; I returned the
following day, at which point this Scott fellow said, "I'm too busy to check
it, call back during the week." I explained I was visiting from out of town
(which I was); he refused anyway, despite being informed I had been told he
would check the price that day. *&^&(^& Bastard!
After returning his rudeness, I purchased on Philips the Arrau recordings of
the Chopin Nocturnes (correctly priced), which I have enjoyed immensely.
All by way of saying - for any bored enough to have read this far - that at
least one very big jerk works at Academy, and nobody should shop there, except
that it is possible to pick up a gem at a decent price at that place.
I still have not as yet got the Landowska, but will resume my effort to do so.
ESH Tooter
Landowska at Tower. The LP may have marginally better sound and the wonderful
Landowska annotations in larger print.
Tooter