Sviatoslav Richter III (Great Pianists of the 20th Century, Vol. 84)

Sviatoslav Richter III (Great Pianists of the 20th Century, Vol. 84)

Sviatoslav Richter III (Great Pianists of the 20th Century, Vol. 84)
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Music CD Cover

Edition: Music CD
CD Release Date: 1999-07-20
Music Label: Philips
Soundtracks:
Music CD 1
  1. Piano Concerto No. 2 In C Minor, Op. 18: Moderato
  2. Piano Concerto No. 2 In C Minor, Op. 18: Adagio sostenuto
  3. Piano Concerto No. 2 In C Minor, Op. 18: Allegro scherzando
  4. Preludes, Op. 32 (Excerpts): No. 1 In C
  5. Preludes, Op. 32 (Excerpts): No. 2 In B Flat Minor
  6. Preludes, Op. 23 (Excerpts): No. 2 In B Flat
  7. Preludes, Op. 23 (Excerpts): No. 4 In D
  8. Preludes, Op. 23 (Excerpts): No. 5 In G Minor
  9. Preludes, Op. 23 (Excerpts): No. 7 In C Minor
  10. Etudes: Op. 2 No. 1 In C Sharp Minor (From: 3 Pieces For Piano)
  11. Etudes: Op. 8 No. 5 In E
  12. Etudes: Op. 42 No. 2 I In F Sharp Minor
  13. Etudes: Op. 42 No. 3 In F Sharp Minor
  14. Etudes: Op. 42 No. 3 In F Sharp
  15. Etudes: Op. 42 No. 5 In C Sharp Minor
  16. Etudes: Op. 42 No. 6 In D Flat
  17. Etudes: Op. 8 No. 11 In B Flat Minor
  18. Etudes: Op. 42 No. 8 In E Flat
  19. Etudes: Op. 65 No. 1 In B Flat
  20. Etudes: Op. 65 No. 2 In C Sharp
  21. Etudes: Op. 65 No. 3 In G
Music CD 2
  1. Waldszenen. Op. 82: Eintritt
  2. Waldszenen. Op. 82: Jager auf der Lauer
  3. Waldszenen. Op. 82: Einsame Blumen
  4. Waldszenen. Op. 82: Verrufene Stelle
  5. Waldszenen. Op. 82: Freundliche Landschaft
  6. Waldszenen. Op. 82: Herberge
  7. Waldszenen. Op. 82: Vogel als Prophet
  8. Waldszenen. Op. 82: Jagdlied
  9. Waldszenen. Op. 82: Abschied
  10. Fantasiestucke, Op. 12 (Excerpts): Des Abends
  11. Fantasiestucke, Op. 12 (Excerpts): Aufschwung
  12. Fantasiestucke, Op. 12 (Excerpts): Warum?
  13. Fantasiestucke, Op. 12 (Excerpts): In der Nacht
  14. Fantasiestucke, Op. 12 (Excerpts): Traumes Wirren
  15. Fantasiestucke, Op. 12 (Excerpts): Ende vom Lied
  16. Toccata In C, Op. 7
  17. Fantasie In C, Op. 17: Durchaus fantastisch und leidenschaftlich vorzutragen - Im Legendenton
  18. Fantasie In C, Op. 17: Massig. Durchaus energisch - Etwas langsamer - Viel bewegter
  19. Fantasie In C, Op. 17: Langsam getragen. Durchweg leise zu halten - Etwas bewegter

Free Music Notes for Sviatoslav Richter III (Great Pianists of the 20th Century, Vol. 84)

Free Music Review: MORE FORTE
Hit: 5 Stars

Commenting on the way her husband's style of playing changed in his later career, Richter's widow said "Slava used to play more `forte'". In fact the selections contained in this 2-disc set cover the decade 1952-62, and there is some memorable `forte' playing indeed here. The Rachmaninov B flat prelude is simply colossal, the best I ever heard it played, and Richter himself either couldn't or didn't wish to do it like this again. Schumann's toccata is another memorable essay in the forte manner, and it raises some issues regarding Richter's playing in general. I first heard of Richter in c1960, when I saw a review in The Gramophone of this very performance. The somewhat breathless reviewer assured us that Richter was quite the greatest pianist alive, witness this account of the toccata. Agog with curiosity I purchased the record, only to be puzzled as to what the fuss was all about. It is a first-class performance unquestionably - I have never heard better. On the other hand this is not a piece that proves a lot about the player. Schumann thought it particularly difficult, but Schumann was far from being a pianist of the first rank. What it demands is a specialised knack for playing sixths in the right hand, and players of quite modest attainments in other respects sometimes have this knack. As it started so it continued throughout Richter's career - we were led to expect signs and wonders and we accordingly found them at every turn.

My own view of him is not quite like this. Apart from Lipatti, Richter was the only piano player that I ever heard of as being admired by Michelangeli, and what they all have in common is very clear, namely a preoccupation with `quality', particularly with evenness of touch, in their technical execution. Lipatti died tragically young and Michelangeli did not - shall we say - over-exert himself in his performing commitments. Richter probably did exactly that, and the consequences were interesting. In some cases he simply threw over the preoccupation with smoothness, and some of his best and most involving performances are models neither of perfect evenness nor even of exceptional accuracy. Also, his personal comportment became rather eccentric and so, in my own view, did quite a lot of his playing in his later years, notably in some very peculiar choices of tempo at times. However what came increasingly to the fore in the process was what marked his style out as uniquely his, namely an introverted and self-communing manner. We are starting to hear this in the Fantasiestuecke from 1956, but it breaks on us in a major way in the great C major Fantasie itself, for my money probably Schumann's greatest composition, which Richter recorded in 1962 at age 47. His overall concept of the work is not a million miles distant from Pollini's, and no extrovert account of the last movement would be worth listening to, but just listen to Richter in the central march. I admit that the dynamic marking at the start is `mezzo-forte', but did you ever hear that interpreted as being quite as subdued as this?

In general however, this set is more forte, and completely free, so far as I noticed, from not only inaccuracies but also eccentricities. My one serious query concerns Scriabin's etude op 42/3. To hear how this should really go listen to Horowitz, and I have to wonder whether Richter really understands it. His speed is far too fast, and the lonely, darting, will-o'-the-wisp feel about the trills is lost. I can on the other hand reassure you that the piece immediately following is played in the reasonable time of 2'36" and not 1'36" as stated. Apart from this little or nothing here is anything short of superlative. He gives only 6 of the 8 Fantasiestuecke, omitting Grillen and Fabel which apparently he didn't care for, but I would say he surpasses Rubinstein in these, above all in Traumeswirren where he eclipses him totally. The Rachmaninov quota is magnificent from start to finish, not least in the concerto. Richter's speed is more or less par for the course these days, significantly slower in the first movement than the composer's own incandescent account. This is done, according to the liner-essay, to elucidate the movement's structure. From this I must infer that the composer obfuscated the movement's structure, which is such patent rubbish that I would suggest that you treat this remark, together with much else in this liner-note, as clueless and meandering.

The recorded quality is quite good for its era, although short of what we would expect today. As a memento of a great player and musician, whose reputation has suffered no little hurt from the dull and automatic applause given to everything he did by a certain section of his following it is just about as good an anthology as I know. He was fascinating and unusual to a fascinating and unusual degree, and we will come to know, love and appreciate him better by listening to him with some discernment.
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