Sviatoslav Richter

[AnotherSpin]

Poor taste in delicate music certainly - but his style is OK for Beethoven I think. There's also a certain organological pleasure in hearing how he drives a piano - the timbres etc. And I would say he was at his best in chamber music.

I've been drawn for quite some time to his recording of Beethoven's Piano Sonata No. 3. No idea when it was made. I've owned it in several CD editions over the years.

There are also a few very brief moments, just a few seconds here and there, from his 1975 Hammerklavier recordings that made deep impression. But his well-known interpretations of the Pathétique and Appassionata from various periods almost make me want to hide under the table. I remember, as a child, how often his performance of the 12th Sonata was shown on Soviet television.

I may have said this before, but Richter's art has always been a puzzle to me. Something I've struggled with. I've always been interested in him, especially since he developed as a musician in my hometown. And yet, I've always had strong reasons not to embrace him fully.

I think I asked before — have you read Andrei Gavrilov's book about him?

[Mandryka]

I've been drawn for quite some time to his recording of Beethoven's Piano Sonata No. 3. No idea when it was made. I've owned it in several CD editions over the years.

There are also a few very brief moments, just a few seconds here and there, from his 1975 Hammerklavier recordings that made deep impression. But his well-known interpretations of the Pathétique and Appassionata from various periods almost make me want to hide under the table. I remember, as a child, how often his performance of the 12th Sonata was shown on Soviet television.

I may have said this before, but Richter's art has always been a puzzle to me. Something I've struggled with. I've always been interested in him, especially since he developed as a musician in my hometown. And yet, I've always had strong reasons not to embrace him fully.

I think I asked before — have you read Andrei Gavrilov's book about him?

He changed considerably IMO after his heart trouble. Sometimes in those later recordings there's a sense of someone really trying hard to grapple with the poetry in the music -- I like that very much.

I haven't read Gavrilov.

[AnotherSpin]

He changed considerably IMO after his heart trouble. Sometimes in those later recordings there's a sense of someone really trying hard to grapple with the poetry in the music -- I like that very much.

I haven't read Gavrilov.

Could you recommend 2–3 of his later recordings that you personally find the most compelling in this regard?

[Iota]

I've been drawn for quite some time to his recording of Beethoven's Piano Sonata No. 3. No idea when it was made. I've owned it in several CD editions over the years.

There are also a few very brief moments, just a few seconds here and there, from his 1975 Hammerklavier recordings that made deep impression. But his well-known interpretations of the Pathétique and Appassionata from various periods almost make me want to hide under the table. I remember, as a child, how often his performance of the 12th Sonata was shown on Soviet television.

I may have said this before, but Richter's art has always been a puzzle to me. Something I've struggled with. I've always been interested in him, especially since he developed as a musician in my hometown. And yet, I've always had strong reasons not to embrace him fully.

I think I asked before — have you read Andrei Gavrilov's book about him?

I tend to agree with you about Richter. The quote from his teacher Neuhaus (who also taught Gilels and Lupu) always stuck in my mind, that he was "the genius pupil, for whom he had been waiting all his life". It of course doesn't really mean much, but it made me try harder earlier on, to hear what others were hearing and I wasn't, but on the whole I've rarely got excited by him, despite his exceptional talent.
The exception for me was a live performance of the Schubert D894 sonata in the 1980s in St.James's Church, Piccadilly, London, where he sat, standard lamp by the piano, reading the music, seemingly cocooned in his own world  radiating a deep sadness, playing very slowly, and it was mesmeric. I also like some of his Bach WTC and some of the things he did with Britten, but he does remain a pianist I don't often feel tempted to listen to.

[Mandryka]

Could you recommend 2–3 of his later recordings that you personally find the most compelling in this regard?

Mozart K379 with Kagan

https://www.youtube.com/watch?v=8GWJVYoCAdk

Ludus Tonalis

https://www.youtube.com/watch?v=0HhZEjJKzMw

1972 Hommage a Rameau (Debussy)

https://www.youtube.com/watch?v=PH5Bkhj6iXc

1967 Debussy Preludes II

https://www.youtube.com/watch?v=mICXQdXgAIw

[AnotherSpin]

Mozart K379 with Kagan

https://www.youtube.com/watch?v=8GWJVYoCAdk

Ludus Tonalis

https://www.youtube.com/watch?v=0HhZEjJKzMw

1972 Hommage a Rameau (Debussy)

https://www.youtube.com/watch?v=PH5Bkhj6iXc

1967 Debussy Preludes II

https://www.youtube.com/watch?v=mICXQdXgAIw

Thank you!)

[Mandryka]

https://www.youtube.com/watch?v=https://www.youtube.com/watch?v=wkRhpCDfU0A


Richter Muti Mozart K491. I really like it, but I may be the only one.

[George]

Richter remains my favorite pianist. I did not immediately warm to his playing, though. Like a lot of people, I wondered (at first) what the hubbub was about him. I think his playing clicked for me when I heard his recordings of Schubert. At the time I didn't know Schubert's music, so I learned it listening to Richter's recordings.

My perspective is that there are pianists who will come to you and pianists that you need to come to. Richter is clearly in the second camp. I recall reading a quote along these lines by the pianist himself. I looked it up to post it here:

 "I don't play for the audience, I play for myself, and if I derive any satisfaction from it, then the audience, too, is content." 

[JBS]

https://www.youtube.com/watch?v=https://www.youtube.com/watch?v=wkRhpCDfU0A


Richter Muti Mozart K491. I really like it, but I may be the only one.

"Video not available"
Maybe because I'm in the US?

I found this. First movement only. Very scrappy sound even for Youtube, and a momentarily disorderly woodwind shows up about two minutes in.
I can't say it impresses me but maybe it's not the same performance.
ETA

Nevermind. It's the same video.  Wonder why your link didn't link.

[Mandryka]

"Video not available"
Maybe because I'm in the US?

I found this. First movement only. Very scrappy sound even for Youtube, and a momentarily disorderly woodwind shows up about two minutes in.
I can't say it impresses me but maybe it's not the same performance.
ETA

Nevermind. It's the same video.  Wonder why your link didn't link.

Looks like I'm still the only person who likes it! The conception of the first movement is unusual.

[Holden]

As George said he was well known for his Beethoven but as an LvB interpreter I only hold a couple of his recordings as close to the best but I still find his LvB enjoyable. George also said that it was his Schubert that turned him onto Richter and this I have to agree with. My first Richter CD was on the Olympia label with the sonatas D664 and D784. They were recorded live in Tokyo and made me want to hear more of this pianist.

Richter also excelled in Rachmaninov and he ruined any other pianists performances of the solo works for me. I'd never been that taken with Rach solo piano and then Richter came out of the blue and blew me away. A concert in Manchester in 1969 of Preludes from Op 23 and Op 32 is something I go back to time and again. Another work where he excelled was the Brahms PC2. The well known one was with the CSO and Leinsdorf but his collaboration with Ormandy is also superb.

These are just a few of Richter's recordings that I particularly enjoy. One of the problems with his LvB is the bombastic approach to a lot of it. Most of that disappeared with the legendary Richter in Leipzig recital.

Just a few of my Richter highlights - I do have more

[AnotherSpin]

As George said he was well known for his Beethoven but as an LvB interpreter I only hold a couple of his recordings as close to the best but I still find his LvB enjoyable. George also said that it was his Schubert that turned him onto Richter and this I have to agree with. My first Richter CD was on the Olympia label with the sonatas D664 and D784. They were recorded live in Tokyo and made me want to hear more of this pianist.

Richter also excelled in Rachmaninov and he ruined any other pianists performances of the solo works for me. I'd never been that taken with Rach solo piano and then Richter came out of the blue and blew me away. A concert in Manchester in 1969 of Preludes from Op 23 and Op 32 is something I go back to time and again. Another work where he excelled was the Brahms PC2. The well known one was with the CSO and Leinsdorf but his collaboration with Ormandy is also superb.

These are just a few of Richter's recordings that I particularly enjoy. One of the problems with his LvB is the bombastic approach to a lot of it. Most of that disappeared with the legendary Richter in Leipzig recital.

Just a few of my Richter highlights - I do have more

Exactly. I think the reason for that kind of approach mostly comes down to plain old bad taste. In the USSR, Beethoven was seen as a heroic figure — practically a revolutionary. So, naturally, his music was treated with great solemnity and overblown drama. These days, it all feels a bit awkward — like watching an old propaganda film.

In one famous Soviet movie, Lenin listens to the Appassionata, eyelids half-closed, lost in an imagined conversation — or rather, a monologue — with H.G. Wells. It's less an illustration than a directive on how Beethoven must be played — and Richter followed it to the letter.

https://youtu.be/0ieCraOeGkA?si=ShdHR7Oyb1RfinD1

[Mandryka]

 

[Mandryka]

Richter played the Appassionata all through his career. I find the later recordings strangely moving. A battle with fate maybe, but a melancholy and despairing one rather than a heroic one.

https://www.youtube.com/watch?v=YTgz5_HXC1o

There are two sorts of heroes. Superman etc, the hero of the comic books, who struggles and fights for what is right and wins. And Achilles, who confronts his destiny against his own wishes, like a god, in a battle he knows he will lose. I hear the latter in the late Richter Appassionata recordings.

[Kalevala]

I should revisit his Beethoven.

I remember being thrilled when I first visited his recordings (maybe 20 years ago--not certain).  A few years ago (pre-Covid), I purchased a used 2-CD set of live recordings by him.  Think that it's called Richter Rediscovered.  In any event, I recall being [sadly] underwhelmed by it. 

A favorite one of mine is his recording of "Pictures at an Exhibition".  It's a live one from Sofia.  The recording quality of it is pretty poor, but the playing on it is jaw-droppingly great.

K

[AnotherSpin]

Richter played the Appassionata all through his career. I find the later recordings strangely moving. A battle with fate maybe, but a melancholy and despairing one rather than a heroic one.

https://www.youtube.com/watch?v=YTgz5_HXC1o

There are two sorts of heroes. Superman etc, the hero of the comic books, who struggles and fights for what is right and wins. And Achilles, who confronts his destiny against his own wishes, like a god, in a battle he knows he will lose. I hear the latter in the late Richter Appassionata recordings.

I gave it a like — your comparison of Richter to Achilles rather tickled me: a hero who strides into battle knowing full well it's already lost. Quite moving, really. One might even see a touch of amor fati.

Which is precisely why I shall refrain from re-listening to Richter's Appassionata — I'd rather not break the spell.

Incidentally, in the film, Rudolf Kerer not only plays the role of Dobroveyne, but also performs the sonata himself.