Available languages: EnglishHungarian-born conductor Adam Fischer has been active with an unusually wide variety of orchestras and operatic ensembles. He has founded three major festivals, the Haydn Tage in Eisenstadt, Austria, a Gustav Mahler Festival in Kassel, Germany, and the Wagner Days at Budapest's Palace of the Arts. Fischer was born in Budapest on September 9, 1949, and his first name is sometimes written Ádám in the Hungarian manner. The conductor Ivan Fischer is his younger brother, and both sang in the Budapest National Opera children's choir; several other family members were or became conductors. Reputedly, Adam was attracted to conducting as a child by a performance of Haydn's "Surprise" symphony, which allows the conductor to startle the audience. He studied composition and conducting in Budapest, then moved to Vienna for conducting studies with Hans Swarowsky. He began his operatic career as a répétiteur or coach at the Vienna State Opera, beginning a longstanding association with that company. Fischer held accompaniment posts in Graz, Helsinki, and Karlsruhe, scoring a breakthrough when he filled in for an ailing Karl Böhm in Munich. That led to a series of increasingly important general music director positions at opera houses in Freiburg, Kassel, and Mannheim, Germany, and, in 2007, at the Budapest Opera. He resigned that position three years later in protest against increasing political repression in Hungary. Fischer has also made numerous guest operatic conducting appearances, leading both Italian and German operas, including a complete Wagner Ring cycle at the Bayreuth house in 2002 that brought him a conductor of the year nod from Germany's Opernwelt magazine. He has been equally noted as a conductor of orchestral music, specializing in the Austro-German tradition from Haydn to Mahler as well as in Eastern European music. Fischer has been conductor of the Danish Chamber Orchestra since 1998 and of the Düsseldorf Symphony since 2005. Guest conducting appearances have included those with many of the world's top orchestras, including the Berlin Philharmonic, the Munich Philharmonic, the Orchestre de Paris, the London Symphony, the Chicago and Boston Symphony Orchestras, the NHK Symphony in Japan, and the Mozarteum Orchestra Salzburg. The year 2018-2019 season saw Fischer on tour with the Vienna State Opera Orchestra, visiting Amsterdam, London, and the U.S. as well as helping develop new productions of Verdi's Ernani and Puccini's Gianni Schicchi at La Scala in Italy. His vast discography includes complete cycles of both Haydn's symphonies (with the Austrian-Hungarian Haydn Philharmonic) and those of Mozart (with the Danish Chamber Orchestra); both of these won Germany's prestigious ECHO Klassik award.
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Klassiek - Verschenen op 18 augustus 2017 | CAvi-music
Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
"The Fourth is Mahler’s most transparent and lyrical symphony – almost a chamber symphony. Probably also due to its rather reduced format, it has been received in unique and contradictory ways. Even during the time when international audiences had practically no knowledge of Mahler’s music, the Fourth remained relatively popular. Today it is regarded as less impressive than the First, Second, Third, Fifth and Sixth Symphonies; from my point of view, however, this stems from an unacceptable misunderstanding. Stylistically, the Fourth poses a truly special challenge I find quite exciting. It is Mahler’s “Pastoral Symphony”. The musical style of the Vienna Secession movement tended to integrate elements of Viennese musical tradition into purely classical works. Many listeners did not take that tendency seriously and branded it as harking back to overbaked ideas (I overheard statements to this effect when I was a child). Of all Mahler’s symphonies, the Fourth is perhaps the one where he puts those Viennese elements most clearly on display. I once even heard the cruel remark that Mahler’s Fourth Symphony amounted to nothing else than the expression of his sadness for not being Schubert. Frankly, this music is everything else but a Schubert imitation. Much of Schubert – and of Haydn – admittedly does resurface here, along with typical Viennese effects including a particular kind of glissando, for instance, and those stylistic means are one of the Fourth’s essential elements. We should therefore perform them in a way that makes them quite noticeable." (from booklet)
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