Sviatoslav Richter

[George]

Not so.  It was always closed on Sunday until 10-15 years ago.

Oh, OK. I have only been going there that long so I wasn't aware. Amazing that they did enough business back then that they didn't need to stay open on Sunday. 

[Coopmv]

Oh, OK. I have only been going there that long so I wasn't aware. Amazing that they did enough business back then that they didn't need to stay open on Sunday. 

The change was no doubt inspired by the big box stores and the likes of Tower Record, etc.

[Mandryka]

The Hungary box is, I think, the most exciting release of piano music for years.

For the first time I can hear clearly why people who saw him in his heyday were so impressed.

Maybe it's most valuable for the earliest recordings, which are in very good sound. There is some truly astounding Bach there.

I'd also single out  his Debussy, and Ravel.

Anyway,  I am really confident in recommending this set. It's phenomenal.

[ccar]

Is there a particularly special Richter recording of Beethoven Piano sonata  No. 12 Op.26?

The RCA definitely!

There are at least 8 commercial recordings of the Beethoven A flat major Sonata  by Richter - Kiev 1958, Prague 1959, Bucharest 1960, New York Oct 1960, New York Nov 1960, Ferrara 1966, Moscow 1976 and Munich 1994.   
 
For me, this Sonata has always been a demanding listening piece. A simple repetitive theme with five syncopated variations. A scherzo with a small lyric motif concealed by some small and  unbalancing motifs. The famous Marcia funebre, with a melodic theme evolving with constant modulations and dissonances.  And a final movement in a Rondo Allegro with a straightforward drive that contrasts immensely with the almost obsessive variations of the first movements. Not surprisingly, a contemporary "critic" commented this was neither an easily playable sonata nor a simple "enjoyable" piece.   

Comparing the various Richter readings I was, as always, fascinated by his multiple and different approaches to the same work. Not only each of the movements is given a unique character but he is able to create completely different ambiances for the whole set. I really don't know if this perceptions result only from my personal listening, nor what particular intention Richter may had had. But these very different facets of each reading really help me to unfold the richness and the beauty of this complex array of apparently simple repeating motifs.

Like others have mentioned before in this thread, the New York Nov 1960 version (RCA/BMG/Melodyia) is one of the most impressive, by the fiery intensity, the coherent character of the whole and by the astonishing virtuosity. It is particularly interesting to compare it with the Carnegie Hall performance that took place less than a month before, clearly in a more retracted or introspected tone.  But for me, if I want to try a more freely exploratory Richter in this sonata, perhaps with less structural coherence but with more discovery and more boldness in many details, I will also try his first version (1958 Kiev). We are immediately surprised by Richter's unique liberty, the courageous and almost humoresque character of the first movement variations.  And in his last recorded performance of the piece (Munich 1994) we may also discover  him in another world, as if in his latter days Richter's Beethoven could well mix with the more intimate colors of a late Schubert.   

   
                             

[k-k-k-kenny]

Comrades

I've spent several hours going from one end of this thread to the other, and whilst fearing for my wallet, and have a question for the initiated about a performance which I already possess: THE Rach 2 from February 1959.

Mine is paired with a very ordinary Rach 3 by Postnikova on the Yedang label. No question that it is quite compressed, but I see that it is paired with the Master playing Rach 1 on a Victor or HMV Japan release. Can any say whether this may be sonically superior?

(I also have the Wislocki/Warsaw PO recording, and whilst it is mighty fine, IMO the performance from February just shades it)

By the way, has anyone devoured the Richter in Hungary box and able to express a view on it?

All suggestions gratefully acknowledged.

[ccar]

                         


                  "One day, at the end of a repetition of the Beethoven First Concerto with the Boston Orchestra, I was so touched
                  by the conducting I kissed the hand of Charles Munch."  S.R.


Many of us remember the famous "conductor statement" of Leonard Bernstein before the Brahms D minor concerto with Glenn Gould. That never resolved question of the soloist versus conductor dominance was revived in my mind while I was listening to the recent CD release of the 1960 debut Richter-Munch-BSO live performances, of the Beethoven C major and the Brahms B flat concertos (DOREMI 7972/3).

I always cherished the Richter-Munch RCA studio recording of the Beethoven No.1, produced on the days after these live concerts. And I could not be surprised by Richter's wonderful rendition of the Brahms No.2 - we know how impressive he could be in this work by his other recordings of the concerto – first with Kondrashin but then with Leinsdorf, Mravinski, Maazel, Georgescu and Rossi. But I was not expecting the way Charles Munch took his stand to drive the BSO in one of the fieriest renditions of this Brahms concerto I can remember.

From Richter's notes we know how he very much admired Munch's conducting, particularly after this Boston tour. But in these live recordings Munch's orchestra is so much present, so intense and alive, I could even imagine if Richter thought for an instant he should also give some sort of "soloist statement" to the public.   
 
                                       
                                             

[Herman]

are we to understand the transfer is good in this case?

These Doremi Richter cds are usually awfully bad.

[George]

Thanks for the great post, ccar!

[Coopmv]

are we to understand the transfer is good in this case?

These Doremi Richter cds are usually awfully bad.

Thank you for the heads up.  So these Doremi CD's should be avoided at all times ...

[Dancing Divertimentian]

Thank you for the heads up.  So these Doremi CD's should be avoided at all times ...

Not all times. Vol. 9 (Prokofiev, Shostakovich, Myaskovsky) is quite decently recorded.

[Coopmv]

Not all times. Vol. 8 (Prokofiev, Shostakovich, Myaskovsky) is quite decently recorded.

BTW, is Doremi legit or is it one of many pirate labels?

[ccar]

Thank you for the heads up.  So these Doremi CD's should be avoided at all times ...

The sound quality of the DOREMI CD's is variable and sometimes worse than I would desire or expect. But in many cases the sound is good or at least acceptable if we understand that most of the recordings are taken from historic live concerts and recitals and many are musical moments of real quality not easily available elsewhere. To "avoid them at all times" is probably unwise for any serious music listener, unless you are too dependent on the sound issues. 

The Brahms and the Beethoven with Munch are most probably from the radio broadcasts and the sound is quite good for its age. Of course they are not studio recordings but there is only minimal hiss and some dynamic distortion, typical of this kind of broadcast takes. The piano tone is given in full. The orchestra is very present but the balance is not so well defined, probable because of the microphone location. For me the sound quality is more than enough to appreciate these impressive and magical performances.   

[Dancing Divertimentian]

BTW, is Doremi legit or is it one of many pirate labels?

Doremi is pirate in the sense that they issue unauthorized recordings of bootlegged material.

But what keeps them in a favorable light among collectors is they're a label not known for stealing outright from other labels. A big bugaboo in the specialist world.

Their catalog also includes much esoteric material otherwise not available anywhere else, which helps bolster their reputation (like a mini-Music & Arts, I suppose).

But how to OFFICIALLY define them, well, something along the lines of "gray area label" might apply seeing as they don't really step on other labels' toes...but since they don't exactly get their material from official sources....

...anyone else....?

[Coopmv]

Doremi is pirate in the sense that they issue unauthorized recordings of bootlegged material.

But what keeps them in a favorable light among collectors is they're a label not known for stealing outright from other labels. A big bugaboo in the specialist world.

Their catalog also includes much esoteric material otherwise not available anywhere else, which helps bolster their reputation (like a mini-Music & Arts, I suppose).

But how to OFFICIALLY define them, well, something along the lines of "gray area label" might apply seeing as they don't really step on other labels' toes...but since they don't exactly get their material from official sources....

...anyone else....?

Thanks for the info.  I have always thought such labels only exist in the non-classical world.  I have a bootlegged live recording of the Beatles recorded at the 1964 Shea Stadium concert ...

[Peregrine]

The Hungary box is, I think, the most exciting release of piano music for years.

For the first time I can hear clearly why people who saw him in his heyday were so impressed.

Maybe it's most valuable for the earliest recordings, which are in very good sound. There is some truly astounding Bach there.

I'd also single out  his Debussy, and Ravel.

Anyway,  I am really confident in recommending this set. It's phenomenal.

It's great, isn't it? Got it for Christmas and really, really enjoying it thus far. Most pleased.

[Bogey]

To make matters more complicated there's a sublime Livre 2 in the Hungary box – 1967 --  good sound considering it's live and more than 40 years old.

That Hungary box is a major event – stuffed with goodies.

Can I get a link to this one folks?  Many thanks!

[Peregrine]

Can I get a link to this one folks?  Many thanks!

http://amzn.to/hfS1tS

http://bit.ly/f9vXvQ

[Bogey]

http://amzn.to/hfS1tS

http://bit.ly/f9vXvQ

Thanks!

[Bogey]

From 1967(?) this recital on the turntable:


http://rateyourmusic.com/release/album/sviatoslav_richter/debussy__preludes__book_ii/

[ccar]

From 1967(?) this recital on the turntable:
http://rateyourmusic.com/release/album/sviatoslav_richter/debussy__preludes__book_ii/

It's indeed from 1967 - Spoletto 14 Jun 1967 - a wonderful recital only recently issued on CD - http://www.amazon.com/Richter-Spoleto-S/dp/B0040T7CO4