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GEN 89147 20.3.2009
18.90 €

Franz Liszt (1811-1886)  
(F. Schubert - F. Liszt)
Franz Liszt (1811-1886)  
Liebeslied ("Widmung")
(R. Schumann - F. Liszt)
Franz Liszt (1811-1886)  
Ballade No. 1 in D flat major
Franz Liszt (1811-1886)  
Ballade No. 2 in B minor
Franz Liszt (1811-1886)  
Rhapsodie Espagnole
Franz Liszt (1811-1886)  
Valse Impromptu
Franz Liszt (1811-1886)  
Mephisto Waltz No. 1


Piano Works by Franz Liszt

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If pushing the play button brings a smile to someone’s face or puts people into a relaxed reverie—what else could this be but magic. Maybe these spellbound listeners are enjoying the Genuin disc showcasing Caroline Fischer—praised as a “rare talent” and “lioness of the keys”—or perhaps a lover of classical music is feeling the effects of Liszt’s music...
The performance by young Caroline Fischer once again poses the age-old question about prodigious pianistic skills which border on the magical. The sorcery heard in the Mephisto Walz or the two ballads will prove irresistible to anyone near the speakers... This is Lisztian wizardry!

“Atmospherically dense sonority [...], marked sensibility [...] her enormous serenity which wins one over, the plasticity and precision with which she shapes chains of chords, octaval transpositions, runs and the rhythmical complexity.”
Aron Sayed, klassik.com, 31 July 2009

Leipziger Volkszeitung
“Her approach to Liszt is shaped by the musical line, she focuses on the transparency and structure, whether it be in the magnificent transcriptions of songs by Schubert or Schumann in the dissembling Mephisto Waltz No.1.”
Leipziger Volkszeitung, Peter Korfmacher, 10 July 2009

“ Fischer satisfies all purity requirements, and invests drive and passion without losing that formal overview which these small, self-contained inner landscapes suggest to the interpreter. [...] Caroline Fischer shows nerve, displays energetic attack and, with rhythmic elasticity, steers the first part onwards with clear contours. Then, with full pianistic vividness, she proceeds to execute the undulations of the B minor tremolos reminiscent of the second St. Francis Legend. Caroline Fischer knows how to build up to pivotional climaxes, and to master them with verve and a willingness to take risks. She understands – for instance at the start of the Mephisto Waltz – how to provoke an acrid atmosphere in marked contrast to the melancholically sentimental variations of the middle section.”
klassik-heute.com, Peter Cossé, 12 June 2009