Bach: Keyboard Concertos

In the middle Thirties two names shone with remarkable intensity in Europe: Artur Schnabel and Edwin Fisher. Ironically none of them possessed an enviable technique, but had conviction, firmness and inspired resolution in their respective careers. Fisher, who was born in 1886 was the epitome of the kindness and the goodwill artist, his admirable interpretative pureness. Somehow his musical legacy marked and nourished the career of his most renowned pupil: Paul Badura Skoda. These Bach legendary recordings have become a true musical treasure, and seem to improve through the years. The prodigious musicality and vigorous enthusiasm allowed him to play and conduct from the piano with that irresistible scent of the pianist who employed the piano to play music, far from the exhibitionisms and pianist pyrotechnic that pitifully filled many important Concert Halls around the world. He seemed to be a Renaissance man due his purity man, his pianissimos were in last instance, the final product of a long spiritual process, a sort of a sublime decantation. One of the final advises of Fisher talk by itself about his peerless grandness: "You must never commit the sin of playing today as you played yesterday.", a happy expression that gets close to Furtwangler intention every time he conducted a determined Symphony; not repeat yourself at all, always searching and exploring with the humble attitude from being a simple link between the score and the audience.