Word: fischers
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Dates: during 1960-1969
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Died. Ruth Fischer, 62, German Communist hoyden in the pre-Nazi Reichstag, who was expelled from the party in 1926, fled to France and then to the U.S., and who in 1947 denounced her brother, Ger-hart Eisler, as a top Kremlin agent in the U.S. and in 1948 wrote the scholarly anti-Communist Stalin and German Communism ; of a heart attack; in Paris...
...Gunnar Fischer, whose careful attention to photographic composition and perfect focussing has always been an aspect of Bergman's best work, has outdone himself in this film. Most impressive are the atmospheric shots at the film's outset and the ensuing carriage ride through the misty forest, immediately reminiscent of the ride to Elsinore in The Seventh Seal, but richer in texture and detail...
...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 piece were handled with more feeling and fidelity to the manuscript. But the more declamatory passages suffered from excessive percussiveness, which often resulted in the submerging of the melody. Indeed, the entire first part of Mr. Fischer's recital displayed his lack of the tremendous ability required to meet the frequent...
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 marred by a memory lapse, which, though not a fatal flaw in itself, may have caused the pianist's failure to inject the called-for nuovovivente. Still, the tight-knit cluster of highly emotional notes which closes the Sonata was very impressive...
...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 passages. I was rather disappointed that he skipped the repeat of the first section, but one cannot expect everything; the remainder of his playing was more than satisfying. It is not easy to play the first section of Opus 111 at all, let alone well, and Mr. Fischer's excellent technique...