Itíll be even more interesting to hear what Fischer does with Prokofiev and Martinů. The Soviet composerís F minor Sonata is hard-core modernism at its most violently aggressive, and though Fischer has shown sheís got the virtuoso technique to meet its demands, who knows how sheíll pitch her lyrical style to its heroic interpretive requirements?
That goes double for Martinůís Sonata. A large-scale four-movement work from the Czech composerís wartime American exile, the sonata is as passionate as Prokofievís, but with less aggression and more lyricism. Itís easy to imagine the light and lively Fischer warming to Martinůís singing linesóbut less easy to guess how sheíll respond to his driving rhythms and soaring climaxes.
But it sure will be interesting to find out.
[Originally published in April, 2009.]