Sviatoslav Richter

[George]

I spent the morning with 5 recordings of Richter's Schubert D 960. All are live except the Salzburg:

1. Moscow 1957 on Parnassus
2. Moscow 1961 on Brilliant Classics
3. Aldeburgh 1964 on Living Stage
4. Salzburg 1972 on Regis (studio recordiing) 
5. Prague 1972 on Praga

The first thing I did was listen to the first minute of each one to get a sense of the sound. Except for the Praga, they have all been noticeably filtered, thus blemishing Richter's tone. Since in Richter's hands, this work relies so much on beauty of tone, especially in the first two movements, I listened to the Praga first. The first movement was indredibly moving, Richter's tone sounded beautiful. The first crescendo surprised me, swelling to an expressively loud climax, sending shivers down my spine. Richter's playing throughout was focused and captivating. His second movement conveyed a beautifully calm and serene mood. The concluding two movements provided a perfect balance to what had come before. The intensity of the finale was particularly impressive, even if the occasional outbursts seemed somewhat out of place. All in all, this was a rich and rewarding experience.

I then compared the Praga to the three other live versions that I have. The 1964 Living Stage Aldeburgh performance was good, but the aforementioned filtering issues, coupled with the intrusive audience noise limited my enjoyment of it. The piano was better recorded on Brilliant, 1961 Moscow, but again the audience noise intruded. The playing of Richter seemed less focused as well. The second movement improves on this a bit and the concluding two movements bring an extra does of excitement. In all, a good performance but not as good as the Praga. Finally I listened to the earliest version I have, the 1957 Moscow on Parnassus. This one actually had the most filtering of any of these, something I found disappointing because the interpretation was a bit different than the others. The first movement was played two and a half minutes slower than the Prague performance and was focused and straightforward, but also less moving. The filtered sound really hampers the slow movement, with the piano sounding as if it were recorded down the hall from the listening position. The third movement was swift, but also muddy. Overall, just not a great recording.

Then I compared my only studio version, Salzburg 1972 on Regis, of this work by the pianist to my front runner, the Prague 1972. Recorded only as month or two apart, I thought this would prove to be an interesting comparison. The Salzburg had the benefit of almost no noise on the recording (certainly no audience noise here), though the reverberant hall was not the best choice of venue. The performance of the first two movements was good, but lacked some of the poetic qualities I enjoyed in the Prague. The finale also did not have that live performance energy and suffered because of it. Moreover, the reverberant sound often muddied up the imaging, making Richter's playing less clear. Still, it was my overall second choice, with the Prague being the clear winner.           

[Peregrine]

I spent the morning with 5 recordings of Richter's Schubert D 960

You need to get out more...

1. Moscow 1957 on Parnassus
2. Moscow 1961 on Brilliant Classics
3. Aldeburgh 1964 on Living Stage
4. Salzburg 1972 on Regis (studio recordiing) 
5. Prague 1972 on Praga

I have all but the Parnassus, am I gay? 

The 1964 Living Stage Aldeburgh performance was good, but the aforementioned filtering issues, coupled with the intrusive audience noise limited my enjoyment of it.

I have this on BBC Legends and thought it sounded fine, will go back and explore

I listened to the Praga first. The first movement was indredibly moving, Richter's tone sounded beautiful. The first crescendo surprised me, swelling to an expressively loud climax, sending shivers down my spine. Richter's playing throughout was focused and captivating. His second movement conveyed a beautifully calm and serene mood. The concluding two movements provided a perfect balance to what had come before. The intensity of the finale was particularly impressive, even if the occasional outbursts seemed somewhat out of place. All in all, this was a rich and rewarding experience.

This is my least listened to version, so will have to give it a spin later. Cheers!

[George]

You need to get out more...

I didn't say where I spent the evening. 

This is my least listened to version, so will have to give it a spin later. Cheers!

It was my least listened to version prior to today too. I forget why, but something turned me off of it initially. 

[Peregrine]

I didn't say where I spent the evening. 

It was my least listened to version prior to today too. I forget why, but something turned me off of it initially. 

Spinning it now....

[Wanderer]

George, thanks for the comprehensive list(s) and continued reviews; they're most helpful. I've always been (still am in fact) somewhat reluctant to investigate the multitude of let's say "illegitimate" Richter recordings properly (God knows there are a few:-) and yours as well as others' reviews at least may keep us away from the duds (I'm mostly referring in terms of sound quality). 

[ezodisy]

I have all but the Parnassus, am I gay? 

only if you want to be buddy. I spent last night at the pub with my non-classical-listening but completely gay male friend and two bi women talking about waxing chest hair, getting cheek implants and sorting out paperwork for fake marriages to Brazilians -- and even after all that I'm still not gay (you could be forgiven for thinking...and so on). Ended up with the age-old push-the-drunken-girl-home-in-a-Sainsbury's-shopping-cart-while-eating-a-chicken-burger routine 

So has anyone heard the quite recent BBC Legends disc?

[George]

Spinning it now....

What did you think?

[George]

George, thanks for the comprehensive list(s) and continued reviews; they're most helpful.

Your welcome. I enjoy Richter's performances of Schubert more than his performances of any other composer. I intend to survey all of his recordings of each of the Schubert sonatas, working backwards from D 960 and will report back after covering each sonata. I have a lot of the performances already and will seek out the ones that I don't have.

I've always been (still am in fact) somewhat reluctant to investigate the multitude of let's say "illegitimate" Richter recordings properly (God knows there are a few:-) and yours as well as others' reviews at least may keep us away from the duds (I'm mostly referring in terms of sound quality). 

Yes, if you look at Trovar, there have been many labels that have released the same performance and while you might think that the bigger labels have the better sound, that is not always the case. Luckily we live in an age where we can try before we buy. 

I plan to review my three recordings (two different performances) of D 958 in the next few days and will post my findings here. I don't have the 1972 performance on Doremi listed at Trovar, but my experience with Doremi doesn't have me running out to get it either. Besides, the Salzburg I have is from the same year. 

[Peregrine]

only if you want to be buddy. I spent last night at the pub with my non-classical-listening but completely gay male friend and two bi women talking about waxing chest hair, getting cheek implants and sorting out paperwork for fake marriages to Brazilians -- and even after all that I'm still not gay (you could be forgiven for thinking...and so on). Ended up with the age-old push-the-drunken-girl-home-in-a-Sainsbury's-shopping-cart-while-eating-a-chicken-burger routine 

[Herman]

I would add Richter's Haydn recordings to any "most favorite" list, and personally I have a hard time listening to the Schubert 960, the tempo is just too glacial. This is interventionist interpretation bordering on the destructive IMO.

[Peregrine]

What did you think?

I find it hard to gauge really, George. Although I haven't listened to the Regis or BBC Legends for a while, my inkling is that I probably prefer those performances (partic. the Regis), but it's such a small margin and don't think anyone would miss out if they owned one of those discs (or indeed the performance on Brilliant), unless they're as anal as you or I ( ) and just have to know which is the best or better performance.

My feeling is that all of those recordings (I don't know the Parnasus) give a good account of a 'Richter D.960' and no-one should feel short-changed by them...

I'll try and give the others a spin this week though and see if I feel differently.

[Novi]

I would add Richter's Haydn recordings to any "most favorite" list, and personally I have a hard time listening to the Schubert 960, the tempo is just too glacial. This is interventionist interpretation bordering on the destructive IMO.

Yeah, tempo in Richter's Schubert seems to be the determining (and divisive) factor for listeners.

I like it myself. In fact, after extensive listening, everyone else sounds lightweight and frivolous, even, say, Lupu .

(Half joking, by the way. I actually really like Lupu and like the contrast between the two, particularly in the G major).

[George]

Time for another installment in Richter's Schubert Sonatas. Moving backwards through the repertoire, we arrive at D 958, as Richter chose not to record D 959. I have read that he explains the reason for this in International Piano Quarterly (Fall 1997), which I believe quotes a book, but I have not seen or read either. If anyone has read this or has a transcript, I'd love to hear more about it or, better yet, read it. 

D 958

   Salzburg 1972 (Regis) – Overall a wonderfully subtle and introverted performance. The piano sound is rich and full, requiring only a bit of treble boost to sound great. Richter's playing is confident and expressive without sounding harsh. He turns in a typically focused performance. The first movement and especially the second has a number of beautifully tranquil passages that are conveyed well by the pianist. A palpable tension is present throughout, but is only hinted at, except for a few explosive moments. The slow movement is mysterious, tender and stern. These contrasting elements work wonderfully in Richter's hands. The third movement is pleasant, but the rhythms sound a bit limp. Richter plays again with great subtlety and authority in the finale. Rather than try to set speed records, he impresses with his ability to sustain the drama of the music by varying the intensity of his playing. As with the early movements, the tension bubbles below the surface, occasionally appearing at key moments, only to submerge again. I don't think this is the best that the pianist has played this work, but it is the best one that I have heard.

   Budapest 1958 (Living Stage, M&A) – If Salzburg was the introverted Richter, then Budapest is surely the extrovert side of the pianist. From the opening measures, it is clear that Richter saw this work at the time as being urgent, more like Beethoven than Schubert. The first movement is played in an incredibly raw fashion, with phrases tumbling into the next with more concern for drama and power than beauty. The cold but fully audible sound tended to underline this point. I chose the Living Stage release for this performance, as it is a clearer transfer, with less filtering. In the second movement, things slow down nicely and the tranquil mood provides a nice contrast to the first movement. However, the audience noise and recording noise spoiled this mood for me. The third movement had a lovely dance feel, with rhythms much more taut than the later Salzburg recording. Richter's rhythms in the finale absolutely amaze. The drama that is created by his technical wizardry here is infectious. Overall, while I certainly recommend this recording, I prefer it's Salzburg counterpart, for I prefer my Schubert to be played with more subtlety. 

[George]

Time for another installment in Richter's Schubert Sonatas. Moving backwards through the repertoire, we arrive at D 958, as Richter chose not to record D 959. I have read that he explains the reason for this in International Piano Quarterly (Fall 1997), which I believe quotes a book, but I have not seen or read either. If anyone has read this or has a transcript, I'd love to hear more about it or, better yet, read it. 

I just found out at another site that all Richter said in the article was "I don't want to play the big A major."   

[George]

Just came across this incredible Blog about Richter. Chock full of great stuff:

http://sviatoslavrichter.blogspot.com/search/label/English

[George]

Today I listened to the two performances listed over at Trovar of

D 894

   Moscow 3 May 1978 (Brilliant Classics) – This was my first encounter with Richter's Schubert and it won me over the first time I heard it. You might say I imprinted on it. The depth of performance is impressive, with a first movement that is epic in the hands of the pianist. Unfortunately, it was recorded under less than ideal conditions, using what sounds like fairly close microphones in a very reverberant hall. The reverb enhances the performances throughout much of the slow movement, adding a mysterious quality to an already ominous performance. However, as the sonata moves on, this effect begins to blur the images as the notes get closer together. There are some splendid moments, especially the sunlight evoked by the start of the second movement. The playing could have been more refined however, and the close recording limited the dynamic range of the sound, thus limiting the dramatic effect of the dynamic shifts. All in all, a very good performance that was unfortunately not helped by the conditions under which it was recorded.

   London 20 March 1989 (Philips) - The recorded sound here is spectacular, microphones were placed far enough away to capture the full dynamic range of Richter's performance. Thankfully, the audience is well behaved as well. Richter's playing here is beyond words, so I won't say very much. The first movement is played like a gentle dream punctuated by nightmarish episodes that startled me, but in a good way. The second and third movements continue in this fashion, Richter plays a heartfelt performance with great focus and if the occasional outbursts are a bit loud, it only adds to the epic nature of his interpretation. The finale is a delight, played in a beautiful, aristocratic style. The understated ending is soft, yet powerful. I found out today that this was the pianist's favorite Schubert sonata and by the way he plays it, I am not surprised. This is truly incredible performance and one that I will revisit and treasure for years to come.     

[George]

Found an alternate discography of the pianist on Doremi:

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

They list privately taped performances as well, unlike Trovar.

[Dancing Divertimentian]

Nice reviews, George. And nice idea to focus on Schubert. As you know I've long championed this somewhat neglected corner of Richter's output. Despite Richter's superhuman technical wizardry his poetic side is every bit as fascinating.

The points about the sonics don't surprise me. If poor sound obscures Richter's pearly tone the music definitely suffers. Especially in such moody music as Schubert.

It's also interesting to read of your comments on D958. Your points illustrate what I've always maintained on this board: that Schubert from Richter in his pre-western days is more "hammered out", more overt and raucous, versus the more poetic and secretive "Viennese" Schubert he later commanded after his exposure to the west. A fine turnaround that doesn't for a moment obscure his successes in 'eastern-era' Schubert (it's very good) but simply points to his willingness to assimilate everything around him for the good of the music.

[Holden]

My seminal Richter recording was bought in the late 80s, the Tokyo recital of D664 and D784 plus 2 impromptus. I'd been searching for a replacement for works I'd had on LP (Ashkenazy and Kempff) and I got more than I could ever have hoped for. This started my love affair with Richter yet it was a while before I bought another Richter recording. The next one made me a life long devotee of this man, surely one of the top three pianists of the 20th century.

[George]

On the way to work today, I listened to some of disc one from this set. Decent sound and some lovely Bach playing.

Here's what's in the set:

Disc 1

Johann Sebastian Bach:
Fantasie & Fugue in A minor BWV 944 ₁
Italian Concerto in F major BWV 971 ₁:
I. Allegro
II. Andante
III. Presto
English Suite No.3 in G minor BWV 808 ₁:
I. Prélude
II. Allemande
III. Courante
IV. Sarabande
V. Gavotte I - Gavotte II ou La Musette
VI. Gigue

Nikolaj Rimsky-Korsakov:
Piano Concerto in C sharp minor op.30 ₂:
I. Moderato
II. Allegro quasi polacca
III. Allegro
Mosca Youth Orchestra
dir. Kyrill Kondrashin

Sergej Prokofiev:
Piano Concerto No.1 in D flat major op.10 ₃:
I. Allegro brioso
II. Andante assai
III. Allegro scherzando
Mosca Youth Orchestra
dir. Kyrill Kondrashin


Disc 2

Johannes Brahms:
Piano Concerto No.2 in B flat major op.83 ₂:
I. Allegro non troppo
II. Allegro appassionato
III. Andante
IV. Allegretto grazioso
Czech Philharmonic Orchestra
dir. Kyrill Kondrashin

Camille Saint-Saëns:
Piano Concerto No.5 in F major op.103 "Egyptian" ₃:
I. Allegro animato
II. Andante
III. Molto allegro
Mosca Youth Orchestra
dir. Kyrill Kondrashin

Disc 3

Alexander Glazunov:
Piano Concerto No.1 in F minor op.92 ₃:
Allegro moderato - Tema con Variazioni
Andantino tranquillo
Variation I
Variation II (Chromatica. Andantino)
Variation III (Eroica. Allegro moderato)
Variation IV (Lyrica)
Variation V (Intermezzo. Allegro)
Variation VI (Quasi una Fantasia. Lento)
Variation VII (Mazurka. Allegretto)
Variation VIII (Scherzo. Alelgro ma non troppo)
Variation IX (Finale. Allegro moderato)
Mosca Youth Orchestra
dir. Kyrill Kondrashin

Modest Mussorgsky:
Pictures at an exhibition ₃:
Promenade
The Gnome
Promenade
The Old Castle
Promenade
Tuileries
Bydlo
Promenade
Ballet of the Unhatched Chicks
Samuel Goldenberg and Schmuyle
Promenade
Limoges - The Market
Catacombs
Cum mortuis in lingua mortua
Baba Yaga
The Great Gate at Kiev

Alexander Scriabin:
Piano Sonata No.6 op.62 ₃


Disc 4

Ludwig van Beethoven:
Fantasia in C minor op.80 "Choral Fantasy" ₃
State Academy Russian Chorus
USSR Large Symphony Orchestra
dir. Kurt Sandeling

Carl Maria von Weber:
Piano Sonata No.3 in D minor op.49 ₄:
I. Allegro feroce
II. Andante con moto
III. Rondo (Presto)

Franz Schubert:
Moments Musicaux op.94 D.780 ₂:
No.1 in C major
No.3 in F minor
No.6 in A flat minor
Impromptu in A flat major op.142 No.2 ₂

Frédéric Chopin:
Etude in E major op.10 No.3 "Tristesse" ₂
Polonaise No.1 in C sharp minor op.26 No.1 ₁


Sviatoslav Richter, piano

Rec.: 1948 ₁, 1950 ₂, 1952 ₃, 1954 ₄