1934 EDWIN FISCHER Mozart PIANO Concerto 22 E flat Maj K 482 Z TYPE SHELLAC 78

$

30

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A series of great Violin, Piano and Orchestra records on rare labels, from 1902 Monarch to 1940 War Germany recordings.

The premier German Bach and Mozart interpreter of the 1920s and 30s, who recorded the first full Wohltemperierte Clavier

It may be surprising to realize, but the Mozart piano concertos were not recorded at all in the early days. Fischers 1933 recording of K 433 seems to be the first Mozart Piano Concerto on record. Throughout the 1930s, Fischer filled this gap with exquisite, often surprisingly modern performances.

And then there is the problem of the cadenzas: For a number of concertos, Mozart did not write out Cadenzas, instead they were filled in by 19th century practitioners often in a stuffy, powdered whig fashion.

Now here is the great delight that makes every Fischer recording a suspenseful delight: He surprises with his own cadenzas in a true Mozartian sense: Not little music box tunes, but taking the material and working on it in a free, improvisatory manner, often touching the limits of tonality in a New Vienna School manner.
The vindication for Fischer's cadenza is, that many of them have been adopted by contemporary pianists

Edwin Fischer at the piano, with orchestra conducted by Sir John Barbirolli, performing Mozart's Piano Concerto No.22 in E flat, K.482,  recorded 1934.

4x12"  Victor Z TYPE SHELLAC late scroll pressings (does not have the Z mark) 78 rpm record w orig album

 Condition: EXCELLENT Pristine Plays NOISELESS with rare ticks, Album complete, both covers loose

This is the quietest copy I have heard!

A CHOICE COPY

The earliest recording of K 466 that I've encountered is from November 1933, in which Edwin Fischer plays and conducts the London Philharmonic. A specialist in Bach and Mozart and known for his smooth, gentle touch, Fischer brings a moderate romantic sensibility with constantly varying tempos and gentle but evident transitions; thus the restless central section of the romanze is both forceful but effortlessly integrated into the surrounding lyricism. Fischer provides his own highly inventive and thoroughly tasteful cadenzas; the one for the rondo, in particular, condenses into 75 seconds an extraordinary voyage from cascading strength through supple contemplation that fully fits the character of the entire movement.

Edwin Fischer (October 6, 1886 – January 24, 1960) was a Swiss classical pianist and conductor. He is widely regarded as one of the greatest pianists of the 20th century, particularly in the traditional Germanic repertoire of such composers as Johann Sebastian Bach, Wolfgang Amadeus Mozart, Ludwig van Beethoven and Franz Schubert. He is also regarded as one of the finest piano teachers of modern times.

Edwin FischerFischer was born in Basel and studied music first there, and later in Berlin at the Stern conservatory under Martin Krause. He first came to prominence as a pianist following World War I. In 1926 he became conductor of the Lübeck Musikverein, Lübeck and later conducted in Munich. In 1932 he formed his own chamber orchestra, and was one of the first to be interested in presenting music of the baroque in an historically accurate way. Though his performances were not particularly historically accurate when compared to similar performances today, he did conduct concertos by the likes of Bach and Wolfgang Amadeus Mozart from the keyboard, which at the time was most unusual. His interpretations, even of Bach, were romantically conceived, but still compelling.

In 1932 he returned once again to Berlin, succeeding Artur Schnabel in a teaching role at the Berlin Hochschule für Musik. In 1942 he moved back to Switzerland, temporarily putting his career on hold through World War II. Following the war, he began to perform again, as well as giving masterclasses in Lucerne, which were attended by a number of later prominent pianists, Alfred Brendel, Paul Badura-Skoda and Daniel Barenboim among them.

As well as solo recitals, concerto performances, and conducting orchestral works, Fischer also played chamber music. Particularly highly regarded was the piano trio he formed with the cellist Enrico Mainardi and the violinist Georg Kulenkampff (who was replaced by Wolfgang Schneiderhan after his death).

Fischer published a number of books on teaching as well as one on the piano sonatas of Beethoven. He also made a number of recordings, including the first complete recording of Bach's Well-Tempered Clavier for EMI in the 1930s.

Fischer’s complete Well-Tempered Clavier, recorded between 1933 and 1936, is one of the landmarks of the Bach discography, considered the earliest complete performance on record. Fischer's recording is admired in part because he does not use the resources of the modern instrument artificially to embellish the score. His recording of the Bach "48" remains the yardstick against which all pianists measure themselves.

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