Flotherm 2022

Yves Nat has not received yet, the special attention of the most audiences. The majestic splendor and touch of class of this genius of the piano has been overlooked for unexplainable reasons. But his Schumann performances simply have no paragon. They are peerless and sheer performances that well deserve from you a major devotion and attention.

Edwin Fischer's recording of the '48' was the first by a pianist of the set, and probably remains the finest of all.
Fischer might have agreed with András Schiff that Bach is the 'most romantic of all composers', for his superfine musicianship seems to live and breathe in another world. His sonority is as ravishing as it's apt, never beautiful for its own sake, and graced with a pedal technique so subtle that it results in a light and shade, a subdued sparkle or pointed sense of repartee that eludes lesser artists. No matter what complexity Bach throws at him, Fischer resolves it with a disarming poise and limpidity. All this is a far cry from, say, Glenn Gould's egotism in the '48'. Fischer showed a deep humility before great art, making the singling out of one or another of his performances an impertinence.