Sviatoslav Richter

[George]

Have you heard Argerich's third Scherzo on DG, George? It's blazing, imo!

This one: http://www.amazon.com/Martha-Argerich-Plays-Chopin-Legendary/dp/B00000IWVS

If so, no, I haven't. I was referring to her new DG CD.

I have heard her Scherzo from the DG Debut Recital CD. I like that one.

[Dancing Divertimentian]

Truth is, I thought they were marvelous because they combined a sort of fast virtuoso quality with feeling and colour. And despite the bravura feel to his interpretation, it doesn't sound like he's got a hyperactivity or anger management problem. To me, he makes it sound like Chopin was a pioneer of the piano, taking risks and making experiments. Nevertheless it still sound like Chopin -- it has the right "inflection". It doesn't sound like Liszt or Rachmaninoff (That last bit may not make sense -- but I know what I mean.)

That's EXACTLY the impression I get from Richter's 1960 Carnegie fourth Scherzo on RCA. Extremely daring and forward-looking.

His two Op. 10 Etudes from the same set have a similar quality.

For me it's a toss-up when it comes to Richter's Chopin. I like it all no matter what the period but I don't expect similar things from it. The earlier the Chopin from Richter the more I expect a certain explosiveness - though without a hint of exaggeration - while in the middle/late periods I hear more poetry and color, while maintaining that ability to surprise and startle. But it's apples and oranges.

[Dancing Divertimentian]

I have heard her Scherzo from the DG Debut Recital CD. I like that one.

Yes, I think that's the one. I have it on this disc:

[George]

Schubert: Drei Klavierstücke, D. 946
Academy of Music (Budapest, 27 April, 1963)

This one is new to the Richter discography. It features a lot of those big contrasts (dare I say some banging) found in his early Schubert. I am glad to have it, but can't help but think he'd do better with this one had he recorded it in the seventies when his sound became more refined. Sound is pretty distorted too, not helping matters. For some reason he seemed to drop it from his repertoire.

[Mandryka]

Ravel: Valses Nobles et Sentimentales.

The recording from Hungary (1954) is BY FAR the most thrilling performance of this that I have heard by anyone. He knocks the spots off Rubinstein (who is marvelous in his own way, of course.)

I have three other Richters. One from Prague (1956) and one from New York (1965). Both of them have extremely poor sound and although good enough as interpretations, are not as electric as the Hungary one.

I also have a late one from Ludwigshafen (1994) . That one is very good, and completely different. 40 years had transformed this pianist's understanding of Ravel: much slower, much less exciting. But that recording really does capture the feeling of a poet really trying to get to the heart of the score, hence it is rather special I think.

But I much prefer the 1954 one.

Sound on the Hungary disc is "historical" and "soviet" It's a bit painful in the first waltz but then you just get used to it.  Certainly the sound is better than the Prague and New York recordings – the sound shouldn't put you of giving this a listen I think.

[Peregrine]

This set is being reviewed on Radio 3 this morning during CD review at apporox 10.45 (GMT)

[Mandryka]

I'd love to be able to but unfortunately this is a recording (along with no. 17) that isn't available anywhere outside Russia - . . .  (Concerto no. 17 is from Leningrad, 1969, and no. 27 is from Moscow, 1966).

I think it's  on Doremi Volume Vol. 14: DHR-7909/10. They list a performance of K595 with Barshai from Moscow, May 1966 and a K453 from Leningrad, January 1969.

http://www.doremi.com/richter.html

[Mandryka]

This set is being reviewed on Radio 3 this morning during CD review at apporox 10.45 (GMT)

That programme was appalling -- sloppy reviewing by the deaf drunk Stephen Plaistow.

He was, for example, arrogantly ignorant of the new repertoire now on record thanks to this set.

[Dancing Divertimentian]

I think it's  on Doremi Volume Vol. 14: DHR-7909/10. They list a performance of K595 with Barshai from Moscow, May 1966 and a K453 from Leningrad, January 1969.

http://www.doremi.com/richter.html

Looks like it's a match. So if you're in the market for quality Mozart by Richter these two concertos are very nicely done.

[Mandryka]

Looks like it's a match. So if you're in the market for quality Mozart by Richter these two concertos are very nicely done.

Yes -- very good, very noble  performances. It's interesting the way he successfully avoids over- sentimentality in Mozart, but not always in Beethoven or Schubert.

Sonically, the orchestra sounds just fine, and Richter's piano isn't as so filtered by Doremi as to be annoying to me. It does sound like a metallic soviet instrument.

The problem is that the piano is very forward of the orchestra. It's rather like being in the front row of the audience.

But the quality of the performances easily shines through. Both Richter's and Barshai's.

[Brian]

Right now, I'm listening to Richter play Gershwin's Piano Concerto. The tempi are quite slow compared to Previn or Nakamatsu, partly because Richter was 78 at the time (1993), but it is working very well so far, very lyrical and bluesy. Or maybe I'm just too amazed and amused and utterly delighted that there is a recording of Sviatoslav Richter playing the Gershwin concerto. Mostly I am posting in this thread because I didn't know that ... RICHTER PLAYED GERSHWIN!??!?!?!

[Brian]

I've just read the liner notes of the CD. It seems that the live performance recorded herein is the only time Richter ever played the Gershwin Concerto in public. He wasn't permitted to by the Soviets... so it was a sort of release, of a love for Gershwin which had long been pent up by the censors.

[Dancing Divertimentian]

Mostly I am posting in this thread because I didn't know that ... RICHTER PLAYED GERSHWIN!??!?!?!

Gershwin...

...and other 'byways' of the repertoire: Webern, Poulenc, Britten, Berg, etc...

That's why Richter's such a cool artist: unpredictable, and the listener benefits.

But Gershwin is just the tip of the iceberg. Even back in his conservatory days Richter raised eyebrows with his choice of repertoire, especially the music of that "dry, academic" Bach, who totally put off many of his classmates. But did that stop Richter? Nooooo.... (I can just see the students fleeing at the first note...).

[Drasko]

I've just read the liner notes of the CD. It seems that the live performance recorded herein is the only time Richter ever played the Gershwin Concerto in public. He wasn't permitted to by the Soviets...

Permissions and restrictions from Soviet authorities could really move in mysterious ways, but this one strikes me bit odd since Grigory Ginzburg played Gershwin (preludes) live in recitals in Moscow as early as 1957.

[Bogey]

Just released from Acoustic Sounds on 180 gram vinyl.  I know the sound will be there, but what of these performances.  Thanks!

Here is what they say.  Agree?

Any pianist who tackles Franz Liszt's great works must possess outstanding skills in many areas. Technical prowess is absolutely necessary to play the extremely difficult score, as is immense physical energy in order to compete with the hefty onslaughts from the orchestra. But a great awareness of the unusual conceptual forms, refined energy and passion are also required to make the keyboard sing. At the beginning of the Sixties Sviatoslav Richter seemed to possess all the First Concerto's defiant theme in the orchestra, offering resistance only to join in later with the lyrical maelstrom of the orchestra. In the Second Concerto Richter exchanges heroic brilliance for an elegiac air, then becomes capricious with graceful arpeggios and a lyrical, firm melodiousness that fires the course of the work. In the Finale these twists and turns come together to form an emphatic single strand of spirited theme, brilliant cadenza and blustering orchestra. The impressive sound was captured by the highly dedicated Mercury recording team.

[Dancing Divertimentian]

This is one set of performances that pretty much all Richterphiles are united on, Bill. No need to hesitate!

[Bogey]

Thanks, Don!  Thought it might be a winner, or why go back and re-press.  However, views here outweigh what I read from liners.

[Dancing Divertimentian]

Thanks, Don!  Thought it might be a winner, or why go back and re-press.  However, views here outweigh what I read from liners.

Yeah, same here.

I like the part in the notes you quoted that mention making the piano sing in these works. That's the first thing that comes to my mind when I think of these particular performances. Richter brings a sort of bell-like, pearly resonance to his playing which stands out against the orchestral backdrop and gives the impression of, well, almost singing.  It's a beautiful effect. 

So the note writer and I are on the same page as far as this.

[Bogey]

Perfect.  Their prices are always high at Acoustic Sounds.  They have to price high to stay in business and get money back from the process of repressing limited quantities.  Cannot touch a decent record from them for under $35.  However, just played one I got from them a bit back and it is worth every penny.  So, I am redrawn to paying a bit more, receiving less items, but enjoying them to the hilt.

[Dancing Divertimentian]

That's a great philosophy, Bill. A true collector!