Sviatoslav Richter

[Dancing Divertimentian]

Just curious how you know this, Don, for my liner notes in the Master Series do not show any dates. 

Here's the scoop, George.

That six-disc mini Richter series on Decca pre-dated the massive Philips Authorized edition by about a year or two. I know this because I actually bought three volumes from that Decca set.

Then in Fanfare turned up a Gerber review of that mini Decca series and at the end of it mention is made of an upcoming edition from Philips which was to contain "all previously unpublished concert tapes" (Fanfare Vol.17, No.1). This was to be the Authorized Edition. So despite some overlap in repertoire the Decca performances couldn't be the same as Philips's.

Later I discovered Trovar and the info there makes the distinction between the Decca Brahms sonatas (Mantua) and the Philips Brahms sonatas (Tours). Tanin's site (the Doremi guy) echos this distinction.

What's tough is trying to remember that once-upon-a-time Decca and Philips actually acted independently (though they were 'sister labels') and released material not duplicated by the other. Today things are different. 

In fact, even today nothing of that original six-disc mini Decca series has seen the light of day on any other label except for Decca (excepting some obscure Universal import) - unlike the Philips Authorized Edition which has now seemingly been gobbled up by Decca.

Anyway, it'll give you a headache, I know...

[George]

No, that was clear as spring water, thanks!

Now, how are the performances? Do you have both? Is the sound or performance better on one of them?

I ask because I have a chance to get the original Decca, but if the performance is better on the Master series, I won't bother. 

[Dancing Divertimentian]

No, that was clear as spring water, thanks!

Now, how are the performances? Do you have both? Is the sound or performance better on one of them?

I ask because I have a chance to get the original Decca, but if the performance is better on the Master series, I won't bother. 

Sorry, George, I haven't heard the Brahms sonatas in the Master Series (Philips Edition).

However, I do have an alternate Brahms first sonata on RCA that's within a month or so of the Master Series first. And I can say for certain the RCA first compares favorably with the original Decca first.

So...if I apply the basic logic that one month between performances isn't a dramatic difference in Richter terms the RCA first should be in the same basic ballpark as the Master Series first. Which means I sort of know what the Master Series first should sound like (even though I haven't heard it) and can comfortably say it should compare favorably with the original Decca first.

However...thinking of it in those terms, I probably wouldn't go out of my way to pick up the original Decca first if I already had the Master Series first. That's based on the knowledge that the RCA first - and by extension the Master Series first - is already such a fine performance.

The one fly in the ointment of course is that in Richter terms one month CAN be a dramatic difference as far as performances of the same piece. So the RCA first I have might indeed be dramatically different than the Master Series first, which means all my logic and conjecturing above is blown to bits.

So bottom line: grab that original Decca Brahms disc!

BTW, after all that, I need to make one correction to my post above: Gerber's description of "all previously unpublished concert tapes" in the Philips Edition actually proved to be slightly incorrect. It turns out there were actually a very small handful of performances in that Edition that had been published before: a couple (or so) of the Beethoven sonatas, the Liszt sonata, and the Shostakovich Preludes chief among them. I actually knew this but the fog of late night and overwork blanked my memory.

Anyhoo, the Philips (now Master Series) Brahms sonatas have long been proven to be separate from that original Decca disc.   

[George]

Sorry, George, I haven't heard the Brahms sonatas in the Master Series (Philips Edition).

However, I do have an alternate Brahms first sonata on RCA that's within a month or so of the Master Series first. And I can say for certain the RCA first compares favorably with the original Decca first. 

That has been my experience with the Schubert sonatas as well, Richter was a consistent performer. Although, the sound of the venue/piano could change considerably. How's the sound on the Decca?

So bottom line: grab that original Decca Brahms disc!

I think I might. It's $20.

[Dancing Divertimentian]

That has been my experience with the Schubert sonatas as well, Richter was a consistent performer. Although, the sound of the venue/piano could change considerably. How's the sound on the Decca?

The Decca disc is in excellent sound. Go for it!

[Zhiliang]

Hi,

Would like to ask which of the recordings of Richter on the label Regis is really worth getting? And also how is the sound?

Thanks.

[George]

Hi,

Would like to ask which of the recordings of Richter on the label Regis is really worth getting? And also how is the sound?

Thanks.

The sound is good on all the ones that I have heard. I think they are all worth getting. The Schubert and Rachmaninoff (with Preludes/Etudes) are especially good.

[Bogey]

What say 'ye on this recording:



Sonata in A minor D845
recorded in Moscow in March 1957

Sonata in D major D850
recorded in Moscow in August 1956

Impromptu in E flat D899/2

recorded in Moscow in 1950

Sviatoslav Richter needs no introduction - he is universally regarded as one of the very greatest pianists of the 20th century. The Soviet recordings he made in the 1950s, before he started performing in the west, are generally less well known though, and here we have two major works, from a composer who was particularly close to Richter's heart which he did not revisit in the recording studio in later years.

Schubert's Sonatas D845 and D850 are certainly amongst his greatest, they immediately predate the magnificent final three (D958-960) and are written on the same vast scale. The composer's piano sonatas were little known in the 1950s particularly in the USSR, and Richter was very much a torchbearer for this music. These are sublime performances particularly in the timeless slow movements, and it is surprising how rarely these particular recordings have been reissued in the CD era. Thankfully by the later 1950's the Melodiya recorded sound was much improved and not many apologies need be made on this account.

To complete this programme we have added one of the earliest Richter recordings, that of the popular Impromptu D899/4, which dates from 1950.

APR5669   £9.99

[George]

What say 'ye on this recording:



Sonata in A minor D845
recorded in Moscow in March 1957

Bill, you haven't read my reviews?    (same performances, different label, reviewed earlier in this very thread)


Review of Schubert's Piano Sonata D 845 (there is only one commercially released performance of this work by the pianist)

  Moscow 2 March 1957 (Living Stage) – I also have this performance on Urania (marked incorrectly as D 850 on the artwork and CD) but the Living Stage has slightly better sound, so I used that one for this review. As with the D 850, the D 845 finds Richter in an austere, even harsh mood. This is not helped by the dry, cold sound evoked by the recording. Close miking only serves to intensify the harshness of forte passages, though it does help to capture all of the quiet moments well in this work. These quiet moments had a great mystery to them and provided a nice contrast to the more extrovert passages. Richter seemed to play better as he went on in this work, the second movement was so much more playful and lighter in mood that one would swear another pianist had stepped in. The finale was particularly fine, saving an otherwise marginal performance. Though I am sure that this is not the greatest recording ever made of this sonata, I do find it to be recommendable.

Sonata in D major D850
recorded in Moscow in August 1956

Moscow 11 August 1956 (Living Stage) – Sounding a bit more rushed and sloppy than the Prague performance, in worse sound, the first movement here was a disappointment. Since this is the only other available performance of this sonata by the pianist, I was hoping for more. Unfortunately, recorded only two months later than the Prague, it was more of the same, at least in the first movement. Like the Prague, the second movement also revealed issues with the tape/piano. The playing was somewhat better, being more coherent, but still not exactly tender or profound either. Unfortunately, the sound becomes really distorted on the forte chords here and in the next movement, making a subpar interpretation sound worse. The same issue plagues the finale. Overall I prefer the Prague performance for it's less rushed and better played first movement and its better sound.

[Bogey]

 I was referring mainly to the APR transfer of the above recording.  Sorry about that, but the reviews brought to light here are also most helpful.

PS Also note that I visit this thread fairly infrequently.

[George]

I was referring mainly to the APR transfer of the above recording.  Sorry about that, but the reviews brought to light here are also most helpful.

The few APR CDs I have are decent transfers, they don't stand out as being particularly wonderful or terrible.

[Zhiliang]

The sound is good on all the ones that I have heard. I think they are all worth getting. The Schubert and Rachmaninoff (with Preludes/Etudes) are especially good.

Thanks George for your recommendations. I have just ordered the Rachmaninoff Preludes/Etudes one and also the Schubert Sonatas D958/D960. Plus a BBC live recording with the D960 played during the 1960s.

As i am a newbie when it comes to Richter's recordings, as a general guideline, is his earlier recordings better than the ones in the 1990s? Or which of his recordings on the timeline should i go for first as piority?

Thanks so much.

[George]

Thanks George for your recommendations. I have just ordered the Rachmaninoff Preludes/Etudes one and also the Schubert Sonatas D958/D960. Plus a BBC live recording with the D960 played during the 1960s.

I strongly recommend the Schubert Master series that came out recently on Decca. It has two of his very best Schubert performances, the D 894 and the D 840.

As i am a newbie when it comes to Richter's recordings, as a general guideline, is his earlier recordings better than the ones in the 1990s? Or which of his recordings on the timeline should i go for first as piority?

I wish it were that simple. For example, his best Schubert recordings (reviews posted earlier in the thread) IMO come from 1956, 1963, 1972, 1979 and 1989. So there's no real rule. I do think that in the early years (1950's) he was much more raw and austere than later on, when his tone became much more refined IMO.

I think it would be better to go after the classic Richter recordings first and then take it from there, based on what you enjoy.

These would include his Liszt Concertos with Kondrashin on Philips, the Melodiya Beethoven CD with the live Pathetique and Appassionata, the Rachmaninov PC 2 with Wislocki on DG, Bach WTC on RCA, Beethoven Cello Sonatas with Rostropovich and the solo Schumann CD on EMI. Better yet, the whole EMI Icon box would make a great starter kit.

[Brian]

Hi,

Would like to ask which of the recordings of Richter on the label Regis is really worth getting? And also how is the sound?

Thanks.

I have the Tchaikovsky and Rachmaninov. The Rach is great; the Tchaik is great, too, actually, though I am partial to Igumnov when it comes to historical recordings, maybe because he was my first exposure to the music.

[Zhiliang]

I strongly recommend the Schubert Master series that came out recently on Decca. It has two of his very best Schubert performances, the D 894 and the D 840.

I wish it were that simple. For example, his best Schubert recordings (reviews posted earlier in the thread) IMO come from 1956, 1963, 1972, 1979 and 1989. So there's no real rule. I do think that in the early years (1950's) he was much more raw and austere than later on, when his tone became much more refined IMO.

I think it would be better to go after the classic Richter recordings first and then take it from there, based on what you enjoy.

These would include his Liszt Concertos with Kondrashin on Philips, the Melodiya Beethoven CD with the live Pathetique and Appassionata, the Rachmaninov PC 2 with Wislocki on DG, Bach WTC on RCA, Beethoven Cello Sonatas with Rostropovich and the solo Schumann CD on EMI. Better yet, the whole EMI Icon box would make a great starter kit.

I had my reservations at first about the Decca Master series, because i bought the one that has his Shostakovich Preludes and Scriabin pieces like the Fantasy Op. 28, and i found the sound a little murky. Maybe its just me. But i will certainly take note of the Schubert that you have mentioned.

I already have the Bach WTC, Liszt Concertos and Rachmaninov PC 2 that you have mentioned on your list.

Also there is this 6 disc live recordings on Doremi from Oct 1960 Carnegie Hall. Are they the sensational first recordings that he made when he first arrived in the States? How is the playing and also the recorded sound? Are they worth buying cos its pretty expensive everywhere. (not if you considered its 6 discs)

[George]

I had my reservations at first about the Decca Master series, because i bought the one that has his Shostakovich Preludes and Scriabin pieces like the Fantasy Op. 28, and i found the sound a little murky. Maybe its just me. But i will certainly take note of the Schubert that you have mentioned.

The Schubert one has great sound.

I already have the Bach WTC, Liszt Concertos and Rachmaninov PC 2 that you have mentioned on your list.

You're off to a fine start then. 

Also there is this 6 disc live recordings on Doremi from Oct 1960 Carnegie Hall. Are they the sensational first recordings that he made when he first arrived in the States? How is the playing and also the recorded sound? Are they worth buying cos its pretty expensive everywhere. (not if you considered its 6 discs)

The performance is superb, but the recorded sound is poor. Sounds like an audience recording. 

[Dancing Divertimentian]

The performance is superb, but the recorded sound is poor. Sounds like an audience recording. 

I'm not sure what Doremi used for its source material but the original source for Richter's famous series of Carnegie concerts in 1960 is actually Columbia - or more specifically, a co-production between Columbia and the Soviet copyright firm, Mezhdunarodnaya Kniga (MK). The performances aren't bootlegs.

Unfortunately the sound came out so disappointingly poor because Columbia hadn't been allowed to make the actual recordings. MK took charge of that and did little more than take Carnegie's house tapes and use them as the source material. But Carnegie's house set-up in those days wasn't anything elaborate. It's main use was to provide performers with tapes of their performances simply for documentary purposes. So technical standards were relatively low.

And so this is what MK handed Columbia for issuing purposes.

Just why MK took this route is speculation but one thing's for certain: these concerts were recorded without Richter's knowledge and released without his approval. Which probably means MK anticipated Richter's apprehension at being recorded (he hated microphones) and Columbia's sprawling network of cables and microphones would've easily tipped him off to what was transpiring - and he would've no doubt vetoed the whole thing. So MK took the discretionary route in using Carnegie's house set-up.

And the rest is history: Richter eventually DID veto these recordings and for almost half a century they were great rarities.

[Herman]

Also there is this 6 disc live recordings on Doremi from Oct 1960 Carnegie Hall. Are they the sensational first recordings that he made when he first arrived in the States? How is the playing and also the recorded sound? Are they worth buying cos its pretty expensive everywhere. (not if you considered its 6 discs)

I'd only take Doremi as a last resort. They have very peculiar sound preferences.

[George]

Or which of his recordings on the timeline should i go for first as piority?

As I mentioned earlier, I'd suggest taking on a performance basis, as I have heard his best work on specific performances of the 50s, 60s, 70s and 80s.

I finally dug out a list I made for a friend on another board of recommendations for Richter CDs. I will post it below for you:

1. Prokofiev Piano Sonatas 6-8, Sofia Recital - Great Pianists of the Century or get the Sofia Recital separately on Philips, but the Prokofiev is not to be missed (PM me if you have trouble finding it.)

2. Beethoven Sonatas Pathetique and Appassionata, Bagatelles and Choral Fantasy on Melodiya (THE best Beethoven disc Richter has put out)

3. Beethoven Sonatas 109 -111 "Live at Leipzig" on Parnassus

4. Rachmaninoff PC 2 and Prokofiev PC 5 on DG (better than the one with the Tchaikovsky coupling, another essential Richter CD)

5. Liszt Piano Concertos cond by Kondrashin on Philips

6. Schumann Fantasy in C on Various EMI CDs

7. Schumann Waldszenen, 6 Fantasiestucke, Toccata, Novellette, Marsch on DG (not the Supraphon as the sound is not as good)

8. Bach WTC Live at Innsbruck on Victor or the much easier to find RCA Salzburg version where the performance is still very good, but the sound is somewhat over-reverberant

9. Debussy Preludes complete on BBC Legends

10. Chopin/Scriabin on Praga and any other Richter Praga CDs you can get including the whole set (very expensive.)

11. Also, any Schubert by the pianist you can get!

[Zhiliang]

I have the Tchaikovsky and Rachmaninov. The Rach is great; the Tchaik is great, too, actually, though I am partial to Igumnov when it comes to historical recordings, maybe because he was my first exposure to the music.

Thanks so much for the recommendations, i will look into the Tchaikovsky now and i totally agree about the "first exposure" My "first exposure" to Richter was his Liszt piano concertos and i still have not found a better version.

[Zhiliang]

As I mentioned earlier, I'd suggest taking on a performance basis, as I have heard his best work on specific performances of the 50s, 60s, 70s and 80s.

I finally dug out a list I made for a friend on another board of recommendations for Richter CDs. I will post it below for you:

1. Prokofiev Piano Sonatas 6-8, Sofia Recital - Great Pianists of the Century or get the Sofia Recital separately on Philips, but the Prokofiev is not to be missed (PM me if you have trouble finding it.)

2. Beethoven Sonatas Pathetique and Appassionata, Bagatelles and Choral Fantasy on Melodiya (THE best Beethoven disc Richter has put out)

3. Beethoven Sonatas 109 -111 "Live at Leipzig" on Parnassus

4. Rachmaninoff PC 2 and Prokofiev PC 5 on DG (better than the one with the Tchaikovsky coupling, another essential Richter CD)

5. Liszt Piano Concertos cond by Kondrashin on Philips

6. Schumann Fantasy in C on Various EMI CDs

7. Schumann Waldszenen, 6 Fantasiestucke, Toccata, Novellette, Marsch on DG (not the Supraphon as the sound is not as good)

8. Bach WTC Live at Innsbruck on Victor or the much easier to find RCA Salzburg version where the performance is still very good, but the sound is somewhat over-reverberant

9. Debussy Preludes complete on BBC Legends

10. Chopin/Scriabin on Praga and any other Richter Praga CDs you can get including the whole set (very expensive.)

11. Also, any Schubert by the pianist you can get!

Wow, thats a great list for a beginner for me, thanks a lot once again. I tried looking through my cds and actually managed to find the Sofia recital and two other cds that are not on your list now. Cant believe i only tried listening to the Schubert Impromptus and Pictures at an exhibition inside. I have never seen the Melodiya Beethoven disc around though.

You know something? I actually felt that the Doremi Carnegie Hall recordings sound actually alright. The great playing actually shines through. Thanks for the lowering of expectations for me and when i compared it to the William Kapell Rediscovered cd, this is still so much better.

[George]

Wow, thats a great list for a beginner for me, thanks a lot once again. I tried looking through my cds and actually managed to find the Sofia recital and two other cds that are not on your list now. Cant believe i only tried listening to the Schubert Impromptus and Pictures at an exhibition inside. I have never seen the Melodiya Beethoven disc around though.

It's here - http://www.amazon.com/Beethoven-Piano-Sonatas-Vol-2/dp/B000001HCQ/ref=sr_1_4?ie=UTF8&s=music&qid=1245197389&sr=8-4

You know something? I actually felt that the Doremi Carnegie Hall recordings sound actually alright. The great playing actually shines through. Thanks for the lowering of expectations for me and when i compared it to the William Kapell Rediscovered cd, this is still so much better.

LOL, that's happens sometimes for me, too. 

[Dancing Divertimentian]

What say 'ye on this recording:



Sonata in A minor D845
recorded in Moscow in March 1957

Sonata in D major D850
recorded in Moscow in August 1956

Impromptu in E flat D899/2

recorded in Moscow in 1950

That's very tempting, Bill. And probably the best of the transfers available. Still, the original Melodiya recordings are bound to be best of all but since they're currently unavailable (why?) there's little for one to do.

I actually have this D.845 on Urania, and I enjoy the performance, but unfortunately Urania isn't one of the more honorable record labels out there (they're pirate). Which means sound-wise things could be a whole lot better.

Anyway, if you take the plunge let us know your impressions.  

[Holden]

I wholeheartedly agree with George's suggestions and would like to add these:



some of the best Rachmaninov playing you'll ever hear.

Schubert, outside of the sonatas, by a master.

The best Brahms PC2 ever (IMHO) plus a brilliant LvB Appassionata!

And not to be missed, his Debussy.

[George]

some of the best Rachmaninov playing you'll ever hear.

I fully agree. I didn't include this one because he said he already got it. 

And not to be missed, his Debussy.

I listed that one. I guess you missed it. 

[Zhiliang]

Thanks George and Holden for all the recommendations.

I am now ordering the BBC Debussy on MDT now. Cant wait for all of them to arrive.

I also saw this, and its Praga.



Is it any good?

I couldnt find it on the Trovar discography.

[George]

Thanks George and Holden for all the recommendations.

Your welcome!

I also saw this, and its Praga.



Is it any good?

Well, it made my list:

10. Chopin/Scriabin on Praga and any other Richter Praga CDs you can get including the whole set (very expensive.)

In other words, yes! It's superb! 

[Zhiliang]

Haha, you are making me poor 

Ordered 7 Richter discs in the last 3 days.

[Holden]

I fully agree. I didn't include this one because he said he already got it. 

I listed that one. I guess you missed it. 

It's end of term. I'm tired, jaded and maybe a bit of dementia is setting in!

[George]

It's end of term. I'm tired, jaded and maybe a bit of dementia is setting in!

Hey another plug for Richter's Debussy certainly can't hurt, right? 

[Holden]

Hey another plug for Richter's Debussy certainly can't hurt, right? 

Thanks George, the sentiment is really appreciated.

[ezodisy]

not sure if this has been mentioned yet

http://www.hmv.co.jp/en/product/detail/3577540

Sviatoslav Richter in Budapest

Schubert: Piano Sonata No. 19 in C Minor, D958
Schumann: Toccata in C Major op. 7
Mussorgsky: Pictures at an Exhibition
Rachmaninov: Prelude in G-sharp Minor op. 32 No. 12
Debussy: Preludes Book 1 : The Hills of Anacapri
Debussy: Images Series 2 : Bells through the Leaves

Sviatoslav Richter, piano

recorded 9-Feb-1958

The Budapest performance is more closely and sympathetically recorded than the Sofia one (though the audience seems not much healthier). Again, it is the courage of this performance that deserves to be singled out - the huge risks he takes, most of which pay off brilliantly.

[Dancing Divertimentian]

not sure if this has been mentioned yet....

Thanks for that, ez. Edward actually brought it up here.

[George]

Brahms
Sonata No. 1 in C Op. 1
Sonata No. 2 in f sharp Op. 2
Variations on a Theme by Paganini, Op. 35: Book 1
Variations on a Theme by Paganini, Op. 35: Book 2
Klavierstücke, Op. 118: No. 3 - Ballade in g
Klavierstücke, Op. 119: No. 4 - Rhapsody in E flat
Fantasien, Op. 116: No. 5 - Intermezzo in e
Klavierstücke, Op. 76: No. 8 - Capriccio in C   

Schumann
Fantasia in C, Op. 17
March in g, Op.76 No. 10
Concert Studies On Caprices by Paginini, Op. 10: no. 4 in c, no. 5 in b, and no. 6 in e
Novellette in F Op. 21 No. 1
Blumenstück, Op. 19
Nachtstücke, Op. 23

Q

Did you (or anyone else) ever get this set? I have never seen it for less than $80, then today it popped up for $45 at amazon. I decided to think it over (for some crazy reason) and it was gone an hour later when I went back. 

[Que]

Did you (or anyone else) ever get this set? I have never seen it for less than $80, then today it popped up for $45 at amazon. I decided to think it over (for some crazy reason) and it was gone an hour later when I went back. 

Yes I did! Much to my satisfaction.
I forgot how much I paid but it was somewhere in the region of $45.

Q

[George]

Just read a message over at the Sviatoslav Richter Yahoo group about the mastering on this set. Apparently DG claims that the set has been remastered, yet the person who posted on the Yahoo group reports that there is no sound difference compared to earlier CD releases. I haven't got it myself because I have all but one work from the set, but wanted to report this for people like me who thought that they might be missing out on a sound upgrade by not buying the set.

[George]

I would add the Preiser recording of Chopin Preludes.

Just got this today. Should get to it over the weekend.

[Dancing Divertimentian]

Just got this today. Should get to it over the weekend.

Did you just order this, George? If so, the same concert is on Ankh in improved sound and might be the better buy. I have the Ankh and can attest to the wonderful refurbishing they bestowed on the sound. Much better than anything else I've heard from a live Russian concert from the early 50's (1950 in fact).

Plus there's more filler on the Ankh including two nocturnes that can only be found on this disc.

[George]

Did you just order this, George? If so, the same concert is on Ankh in improved sound and might be the better buy. I have the Ankh and can attest to the wonderful refurbishing they bestowed on the sound. Much better than anything else I've heard from a live Russian concert from the early 50's (1950 in fact).

Plus there's more filler on the Ankh including two nocturnes that can only be found on this disc.

I bought the Preiser at a local store. Is the Ankh reasonably priced and easy to find?

[Dancing Divertimentian]

Is the Ankh reasonably priced and easy to find?

Yes, it's on Amazon and goes for around $21-22 or so (it's volume 1). That seems to be the going rate for Ankh discs even if you order from the company directly.

[George]

Did you just order this, George? If so, the same concert is on Ankh in improved sound and might be the better buy. I have the Ankh and can attest to the wonderful refurbishing they bestowed on the sound. Much better than anything else I've heard from a live Russian concert from the early 50's (1950 in fact).

Plus there's more filler on the Ankh including two nocturnes that can only be found on this disc.

I wonder if Ward Marston will be releasing this in that Naxos series he started this year of Richter early recordings? They labeled that CD volume one, certainly suggesting that there will be more to follow. I will ask the guy who answers the phones at Marston records if he knows anything about it.  

[Dancing Divertimentian]

I wonder if Ward Marston will be releasing this in that Naxos series he started this year of Richter early recordings? They labeled that CD volume one, certainly suggesting that there will be more to follow. I will ask the guy who answers the phones at Marston records if he knows anything about it. 

Be anxious to hear what they have to say, too!

[George]

I just spoke to Scott Kessler (Ward Marston's business partner) over at Marston Records. After he briefly spoke to Ward about a few questions I had, he told me two things:

1. That 1950 Moscow Chopin recital won't appear on Naxos, as Melodiya owns the rights to the recordings.

2. The Naxos Richter series will only continue if Naxos wants to do so. He told me that the only recordings that will/can get issued are the older Richter recordings, pre-1959 (older than 50 years and therefore fair game.) This may include some of the performances already released on Parnassus, but then again, may be stuff that has never appeared before. Time will tell I guess.

I suggest that folks buy that Richter early recordings CD on Naxos to help send them a message that we want more Richter. 

   

[Dancing Divertimentian]

I don't quite follow Kessler's logic. Does Melodiya claim some special copyright law that supersedes all others?

That 1950 Chopin/Moscow recital obviously falls before the 1959 cutoff date and therefore should be fair game. Marston shouldn't have any trouble at all releasing it - both Ankh and Preiser already have!

Not to mention there's a vault full of Melodiya Richter recordings that's never made it to CD, many I'm sure well beyond the reach of copyright protection (pre-1959). I mean, it'd be a smorgasbord!

So what is this guy really saying?

[George]

Don, if you want to know more, Marston lists their phone number at the top of their website. I only wanted to know if Ward would be mastering that 1950 Moscow concert. The why of it doesn't matter to me. 

[Dancing Divertimentian]

Don, if you want to know more, Marston lists their phone number at the top of their website. I only wanted to know if Ward would be mastering that 1950 Moscow concert. The why of it doesn't matter to me. 

It's not really important to me, either, but I don't find anything the least satisfactory in his answer!

Historical labels know what's under copyright or not. At least the credible ones do. If no one from the Marston/Naxos team is interested in releasing that particular Moscow recital that's fine and dandy. Just don't be jiving on about copyright when none is applicable. 

[Dancing Divertimentian]

Anyway, thanks for taking the time to relate your findings, George.

[George]

Anyway, thanks for taking the time to relate your findings, George.

Your welcome.

[Dancing Divertimentian]

Hey, George.

Figured I'd bring your question here for safer keeping.

It also might be handy to give something like a briefing into the qualities of this RCA set as Richter in America isn't all that common on disc.

Not to mention it's a good excuse to resurrect this, err...one-of-a-kind thread!

Believe it or not, that is one Richter CD that I have yet to get. I forget why, but I think it has to do with a few people not recommending it. How's the rest of the set?

In the first place it's interesting to read that this set might have enemies. Personally I can't hear any reason to hate it. In fact, after consideration I rate this as one of the most extraordinary recitals ever recorded by Richter (actually one recital and a handful of encores from a recital a couple days later).

I bought this set initially on the strength of Prokofiev's Visions Fugitives which I happened to sample a while back at a used CD shop. But sampling in no way prepared me for what was to come as I sat down with this set to listen (over the course of several days, in actuality).

First off, listening to the Visions Fugitives confirmed what I had sampled earlier: this is simply unparalleled Prokofiev playing. Scorching and ultra-poetic. In fact, it's the best I've heard by Richter on disc (which means the best I've heard for this work).

Next came Prokofiev's sixth sonata, and this is where I began to look on this set as something quite out of the ordinary. Initially I wasn't sure just what to expect with this sixth: how could this version differ all that much from the four other Richter recordings of the sixth I own? It didn't take long for my ears to perk up and draw me in to what was unfolding over the loud-speakers. Concentration on a staggering level. Prokofiev with every element of his artistry fully dissected and made visible to me. And by 'artistry' I of course mean everything that makes Prokofiev great: dynamism, color, poetry, quick wit, and perhaps that "razor-sharp angles" thing (though a misnomer, really). This performance is simply a three-dimensional exploration of every nook and cranny of the score...and it's totally eye-popping!

And it's precisely this that differentiates this particular sixth from the other four I have. All the elements gather together here to produce Prokofiev on the highest of levels. I can't praise it highly enough. (Needless to say it's my favorite sixth).

There are of course other works on this set. The Chopin third Ballade and fourth Scherzo are both about the finest of their kind on disc. Again comparisons to other Richter recordings of these works are revealing: in London seven months later (on BBC Legends) and in Italy a year or so later (on DG) find Richter already assimilating some of the musical influences he'd undoubtedly picked up from his contact (first time) with the west. The Chopin in Europe is a bit more refined and more "flowing" (as opposed to "poetic") but hardly more compelling. Comparisons with New York find Richter already fully in command of the Chopin aesthetic (goes without saying) but what distinguishes these NY performances is his hyper-kinetic tendencies (eruptions!) when the music shifts out of the poetic and into the virtuosic. Here the fingerwork takes on something akin to the superhuman - but clean as a whistle and never sounding tacked on to the musical line like a malignancy. It's technical pianistic wizardry combined with poetry like I've never heard it.

Ditto the lone Debussy piece which again is more "agitated" in NY (over London, 1961) but with no loss of poetry.

In fact, I'm almost tempted to say the surroundings (America) are in large measure what's to blame for all this "agitation". But "agitation" here isn't meant to infer anything in the pejorative (at all!). Perhaps it's more apt to say something akin to an adrenalin surge is evident in the playing possibly brought on by many factors, such as nerves, isolation, fear, etc, and to survive the American experience Richter simply buried himself in the music. Conjecture, yes, but based on the MUSICAL evidence something was at work on his psyche, and the outpouring of insight, energy, and poetry is on the grandest of scales.

It's worth noting that Richter gave his full approval for these recordings to be released - something he NEVER took lightly - so perhaps this is a sign that he, too, recognized something special in this recital (plus encores). Dunno...but these performances sure blew me away.

The sound is vintage early stereo, clean, clear, but a bit dry and crimped with some washing out in very loud passages. Overall though top-notch sound for the era.

(BTW, George, the Haydn sonata is delectable, too! ).

[George]

Thanks for your thoughtful and informative post, Don! That set just moved to the top of my wishlist! 

[dirkronk]

Ditto the lone Debussy piece which again is more "agitated" in NY (over London, 1961) but with no loss of poetry.

In fact, I'm almost tempted to say the surroundings (America) are in large measure what's to blame for all this "agitation". But "agitation" here isn't meant to infer anything in the pejorative (at all!). Perhaps it's more apt to say something akin to an adrenalin surge is evident in the playing possibly brought on by many factors, such as nerves, isolation, fear, etc, and to survive the American experience Richter simply buried himself in the music. Conjecture, yes, but based on the MUSICAL evidence something was at work on his psyche, and the outpouring of insight, energy, and poetry is on the grandest of scales.

It's worth noting that Richter gave his full approval for these recordings to be released - something he NEVER took lightly - so perhaps this is a sign that he, too, recognized something special in this recital (plus encores). Dunno...but these performances sure blew me away.

Don, I commend you on the description of Richter's "agitation" during his 1960 US visit. The attributes you describe in his RCA December Carnegie performances are there (perhaps even moreso) in his series of October 1960 Carnegie performances, originally released on US Columbia, withdrawn and OOP for decades, then re-released on CD on Doremi.

Of course, Richter did NOT approve those for release (I disagree with his opinion -- he may be the artist, but I know what my ears like), hence  their withdrawal and long absence except in the archives of vinyl collectors such as yours truly. It is the agitation factor that I find both problematic yet appealing in the October items. The Beethoven Appassionata is a good example; even though I look on his early-1960 Moscow performance as a more recommendable live version and his December US (RCA) studio version as a superb performance of its kind, I continue to be fascinated by the sheer live presence and nervous tension conveyed in the Carnegie sets, through which Richter's skills nevertheless shine through.

All of this, of course, is a sidebar the main issue -- which is to assure George that the December Carnegie set on RCA is indeed worth getting. And it appears that you were successful. Go get it, George.


Cheers,

Dirk

[George]

All of this, of course, is a sidebar the main issue -- which is to assure George that the December Carnegie set on RCA is indeed worth getting. And it appears that you were successful. Go get it, George.


Cheers,

Dirk

If only my wallet bulged as much my shelves do. 

All in good time. 

[Dancing Divertimentian]

Thanks for your thoughtful and informative post, Don! That set just moved to the top of my wishlist! 

Anytime, bro.

[Dancing Divertimentian]

Don, I commend you on the description of Richter's "agitation" during his 1960 US visit.

Thanks, dirk.

The attributes you describe in his RCA December Carnegie performances are there (perhaps even moreso) in his series of October 1960 Carnegie performances, originally released on US Columbia, withdrawn and OOP for decades, then re-released on CD on Doremi.

Of course, Richter did NOT approve those for release (I disagree with his opinion -- he may be the artist, but I know what my ears like), hence  their withdrawal and long absence except in the archives of vinyl collectors such as yours truly. It is the agitation factor that I find both problematic yet appealing in the October items. The Beethoven Appassionata is a good example; even though I look on his early-1960 Moscow performance as a more recommendable live version and his December US (RCA) studio version as a superb performance of its kind, I continue to be fascinated by the sheer live presence and nervous tension conveyed in the Carnegie sets, through which Richter's skills nevertheless shine through.

How interesting. So it was "agitation" from the word go for Richter in Carnegie. I suppose this was to be expected - expectations must've ran extraordinarily high for him, being the foremost Soviet musician at the time to visit America.

How do you rate the Columbia series overall, dirk? You mention the tense Appassionata. I haven't heard a single note from this series but if it's anything like the RCA concert it's as close to a must-have as anything out there. (But how I WISH a first-rate historical label - say, Marston - would get hold of these tapes and remaster them properly.)

[George]

How interesting. So it was "agitation" from the word go for Richter in Carnegie. I suppose this was to be expected - expectations must've ran extraordinarily high for him, being the foremost Soviet musician at the time to visit America.

How do you rate the Columbia series overall, dirk? You mention the tense Appassionata. I haven't heard a single note from this series but if it's anything like the RCA concert it's as close to a must-have as anything out there. (But how I WISH a first-rate historical label - say, Marston - would get hold of these tapes and remaster them properly.)

My understanding is that like many of Doremi's releases, the source came from an audience recording and therefore couldn't be much improved upon, regardless of who remastered it. 

[Dancing Divertimentian]

My understanding is that like many of Doremi's releases, the source came from an audience recording and therefore couldn't be much improved upon, regardless of who remastered it. 

That would be startling if true. To date I hadn't heard of any audience source for these Carnegie concerts. Where in the world did they unearth them??

But what I was referring to was someone like Marston getting hold of the original Carnegie tapes and remastering them - the tapes which Columbia used for their LPs.

But that IS intriguing about the bootleg Carnegie performances. Any additional information, George?

[George]

But what I was referring to was someone like Marston getting hold of the original Carnegie tapes and remastering them - the tapes which Columbia used for their LPs.

Oh, I see. That would be great, as would someone simply transferring these LPs to CD.

But that IS intriguing about the bootleg Carnegie performances. Any additional information, George?

No, sorry.

[dirkronk]

How do you rate the Columbia series overall, dirk? You mention the tense Appassionata. I haven't heard a single note from this series but if it's anything like the RCA concert it's as close to a must-have as anything out there. (But how I WISH a first-rate historical label - say, Marston - would get hold of these tapes and remaster them properly.)

Agree completely with your wish, Don. The October Carnegies deserve better treatment and wider dissemination among collectors IMO. The Doremi set actually offers more music than the seven Columbia records (3 double-LPs & 1 single) provide, so we're not talking apples-to-apples comparison. Still, the house tapes from which Columbia got their releases SHOULD have all the music on them. I hadn't heard anything definitive about the source for the Doremi release, but the idea that it could be an audience/pirate tape really never occurred to me.

As for my "rating" the Columbia series: I'm afraid I've taken so long (originally) tracking down my copies of the LPs and lived with the performances so many years that my opinions are permanently warped and thus unreliable. Objectively speaking, I'd rate the Carnegie October series as less essential than, say, the Richter in Prague set and the Melodiya/BMG Richter Edition. Still, IMO any Richterphile worth his or her mania will want to hear the performances, and to this end it's good to have the Doremi issues. But now having gotten copies of the Doremi CDs, I'm still not going to give up my LPs. Old and sonically limited (and in a couple of cases, scratched--side 4 of my all Prokofiev set is essentially unplayable) as they are, the Columbias seem to capture a certain depth and warmth that the Doremi transfers don't. And whether this "warmth" was filtered out via digital processing or simply missed in whatever "original" tapes were used, I obviously have no idea.

Regardless, we're talking about recordings of an occasion...and one that certainly put Richter in the spotlight big time. The Appassionata I referred to came, of course, as an encore piece AFTER he'd given an entire evening of other Beethoven sonatas. The other pieces were given in beautifully structured but rather restrained (for Richter) form, yet I think it's fair to say that the "agitation" factor underlies them all; and this, in turn, made the speeds and let-it-loose presentation of the Appassionata stand out that much more. So while it hardly qualifies as a mainstream or first choice rendition, it's truly an edge-of-your-seat listening experience. All just my opinion, of course, but man...I STILL squirm in my seat when hearing it, even after all these years.

OK, 'nuff of this. Gotta get to work. I'll pop back in later if I think of anything further to add.

Cheers,

Dirk

[Holden]

From what I have read the noise problems on the Doremi set were caused by nearby subway trains and not a turntable rumble. It appears only on some of the recordings. The question I've got to ask is; with all the live recordings made at Carnegie Hall, how come this hasn't been noticed in other recordings?

[Dancing Divertimentian]

Objectively speaking, I'd rate the Carnegie October series as less essential than, say, the Richter in Prague set and the Melodiya/BMG Richter Edition. Still, IMO any Richterphile worth his or her mania will want to hear the performances, and to this end it's good to have the Doremi issues.

Whew...that helps. Yes my mania cries for a Marston issue of these concerts but in the meantime I can console myself in the rest of my collection.

But now having gotten copies of the Doremi CDs, I'm still not going to give up my LPs. Old and sonically limited (and in a couple of cases, scratched--side 4 of my all Prokofiev set is essentially unplayable) as they are, the Columbias seem to capture a certain depth and warmth that the Doremi transfers don't. And whether this "warmth" was filtered out via digital processing or simply missed in whatever "original" tapes were used, I obviously have no idea.

Yeah, most of us I suppose wish those Doremi issues (any of them) were better produced. Perhaps that's the best they can do with the funds they have (pity, though...they do seem to find some gems).

Regardless, we're talking about recordings of an occasion...and one that certainly put Richter in the spotlight big time. The Appassionata I referred to came, of course, as an encore piece AFTER he'd given an entire evening of other Beethoven sonatas. The other pieces were given in beautifully structured but rather restrained (for Richter) form, yet I think it's fair to say that the "agitation" factor underlies them all;....

Funnily enough Richter relates the story in I believe Notebooks (or maybe IPQ) of being so keyed up by these first Carnegie concerts that it took tranquilizers to settle him down enough to perform. But the effect of the tranquilizers apparently clashed with the electricity of the event and produced an almost circus-like altered state in him - he relates how the sound of a wrong note almost brought him to laughter! I wonder how much of THIS is our "agitation".

Anyway, thanks for your insight, dirk. As always it's appreciated.

[Dancing Divertimentian]

From what I have read the noise problems on the Doremi set were caused by nearby subway trains and not a turntable rumble. It appears only on some of the recordings. The question I've got to ask is; with all the live recordings made at Carnegie Hall, how come this hasn't been noticed in other recordings?

It might have something to do with the nature of these particular recordings. The thing is, they were never professionally produced - that is to say, although Columbia ISSUED these recordings they didn't actually RECORD them. MK took charge of that per the deal they made with Columbia and merely left the production part of the recordings to the less than world-class facilities of Carnegie's in-house setup. In those days the in-house facility's main function was simply to provide performers with rough recordings of their concerts as a way to document the event. Little more.

It isn't know just why MK took this route but speculation must center on the fact that Richter hated the presence of microphones sprawled about on stage and most likely would have vehemently objected to any attempts to record him (and with him already on edge.........). MK probably knew this and simply found a way to circumvent any objections by using the more basic (hidden?) in-house set up.

So this might explain the presence of train noise in the recordings. Non-professional recordings with a pickup perhaps too near a wall or something might account for this.

[George]

Tonight I compared 5 Richter performances of Schubert's D 575 -

Moscow 1965, Brilliant
Florence 1966, Philips/Decca
Aldeburgh 1966, Living Stage
Tokyo, 1979, Regis 
London, 1979, BBC

The winner is the Florence 1966 Philips performance (also found on the recently remastered Master series but in slightly better sound in the earlier OOP edition):



All five versions were similarly paced (and performed for that matter), but this one had by far the best sound and was the most lively. That makes a perfect three for three on the Richter Master Schubert series (along with the above OOP Philips Set), as all three sonatas contained are the best versions of those works by the pianist IMO. This is the Schubert Decca set from the Master series:

[George]

Finally, I compared the three available performances of Schubert's D 566 sonata tonight:

1964 Aldeburgh - Living Stage
1978 Moscow - Brilliant
1978 Munich - Victor/Japan

The timings here were almost identical, but the sound varied greatly. In this respect the Brilliant Classics version was clearly superior.



Richter's full tone was captured wonderfully, revealing the pianists dark, mysterious reading. Only the end of the second movement, when the sound bounced back and forth from left to right channel was there any problems with the sound. The finale radiated light and serenity.   

So this ends my survey of the available Schubert sonata recordings by Richter. I have summarized my results below (work, place, year and label.) For D 845 there is only one performance available.

D 960 Prague - 1972 - Praga
D 958 Salzburg - 1972 - Regis
D 894 London - 1989 - Philips/Decca (Philips has slightly better sound)
D 850 Prague - 1956 - Praga (better sound than Music and Arts)
D 845 Moscow - 1957 - Living Stage (better sound than Urania)
D 840 Salzburg - 1979 - Philips/Decca (Philips has slightly better sound)
D 784 Tokyo - 1979 - Regis
D 664 Paris - 1963 - EMI
D 625 Munich - 1978 - Victor/Japan
D 575 Florence - 1966 - Philips/Decca (Philips has slightly better sound)
D 566 Moscow - 1978 - Brilliant Classics

[Mandryka]

Finally, I compared the three available performances of Schubert's D 566 sonata tonight:

1964 Aldeburgh - Living Stage
1978 Moscow - Brilliant
1978 Munich - Victor/Japan

The timings here were almost identical, but the sound varied greatly. In this respect the Brilliant Classics version was clearly superior.



Richter's full tone was captured wonderfully, revealing the pianists dark, mysterious reading. Only the end of the second movement, when the sound bounced back and forth from left to right channel was there any problems with the sound. The finale radiated light and serenity.   

So this ends my survey of the available Schubert sonata recordings by Richter. I have summarized my results below (work, place, year and label.) For D 845 there is only one performance available.

D 960 Prague - 1972 - Praga
D 958 Salzburg - 1972 - Regis
D 894 London - 1989 - Philips/Decca (Philips has slightly better sound)
D 850 Prague - 1956 - Praga (better sound than Music and Arts)
D 845 Moscow - 1957 - Living Stage (better sound than Urania)
D 840 Salzburg - 1979 - Philips/Decca (Philips has slightly better sound)
D 784 Tokyo - 1979 - Regis
D 664 Paris - 1963 - EMI
D 625 Munich - 1978 - Victor/Japan
D 575 Florence - 1966 - Philips/Decca (Philips has slightly better sound)
D 566 Moscow - 1978 - Brilliant Classics

That's very useful -- thanks George.

[George]

Richter on Scriabin - a 1965 interview

http://sviatoslavrichter.blogspot.com/2010/01/richter-on-scriabin-by-faubion-bowers.html

[Drasko]

Richter on Scriabin - a 1965 interview

http://sviatoslavrichter.blogspot.com/2010/01/richter-on-scriabin-by-faubion-bowers.html

Great! Thanks for the find George.

He is right on the money on many things in that interview, like that about Scriabinists, Scriabin's music is perfectly fine on its own, no need for angles, mystical, theosophical or what not.

He is also right about his recording of 5th Sonata on DG not really being that good (not close to Prague).

But the thing that most made me smile is about Liszt's Mephisto Waltz being glaringly proto-Scriabin, same thought dawned on me few years ago while listening to Samuil Feinberg's recording of Mephisto Waltz, maybe not so obvious with other pianists but Feinberg emphasizes the connections unmistakably. I think I can even guess which passage Richter played to the interviewer - starting maybe 15 seconds before 6th minute and lasting till some scales come in, also hear the raising passage about 7:45 (in Feiberg's recording).

Feinberg disc with that Mephisto Waltz is long out of print, one of those ancient Harmonia Mundi's, so I hope nobody will object to link for flac rip? Rest of the disc consists of Tchaikovsky op.80 Sonata and Chopin op.59 Mazurkas (LP length)

Code Select Expand

http://rapidshare.com/files/177380753/feinberg__samuel.rar

I'm not very up to date with Richter's discography, is 1994 Ludwigshafen still his only recording of Scriabin's 7th Sonata?

   

[George]

Great! Thanks for the find George.

Your welcome. I was beginning to think that no one else found that interview informative.

He is right on the money on many things in that interview, like that about Scriabinists, Scriabin's music is perfectly fine on its own, no need for angles, mystical, theosophical or what not.

He is also right about his recording of 5th Sonata on DG not really being that good (not close to Prague).

I have both, I should compare. 

But the thing that most made me smile is about Liszt's Mephisto Waltz being glaringly proto-Scriabin, same thought dawned on me few years ago while listening to Samuil Feinberg's recording of Mephisto Waltz, maybe not so obvious with other pianists but Feinberg emphasizes the connections unmistakably. I think I can even guess which passage Richter played to the interviewer - starting maybe 15 seconds before 6th minute and lasting till some scales come in, also hear the raising passage about 7:45 (in Feiberg's recording).

Feinberg disc with that Mephisto Waltz is long out of print, one of those ancient Harmonia Mundi's, so I hope nobody will object to link for flac rip? Rest of the disc consists of Tchaikovsky op.80 Sonata and Chopin op.59 Mazurkas (LP length)

Code Select Expand

http://rapidshare.com/files/177380753/feinberg__samuel.rar

Awesome! Thanks for that!

I'm not very up to date with Richter's discography, is 1994 Ludwigshafen still his only recording of Scriabin's 7th Sonata?

The webmaster at Trovar told me that he'd be updating the website soon, but that was months ago. I bet if you ask over at the Richter Yahoo group they'd know. 

[bhodges]

Richter on Scriabin - a 1965 interview

http://sviatoslavrichter.blogspot.com/2010/01/richter-on-scriabin-by-faubion-bowers.html

Thanks for this, George.  Loved the side comment about the Yevtushenko poem, about the students working to earn money for all-Scriabin concerts.  And this gave me a chuckle, too: "Scriabinists are tiresome people." 

I might like the Ninth the best, as well, although I still burn a candle for No. 5, the first one I ever heard (with Horowitz).  And even now, over 40 years later, Scriabin still seems underplayed here.  (But then, 1900 is the cut-off date for many people in their listening.  )

--Bruce

[George]

Thanks for this, George.  Loved the side comment about the Yevtushenko poem, about the students working to earn money for all-Scriabin concerts.  And this gave me a chuckle, too: "Scriabinists are tiresome people." 

I might like the Ninth the best, as well, although I still burn a candle for No. 5, the first one I ever heard (with Horowitz).  And even now, over 40 years later, Scriabin still seems underplayed here.  (But then, 1900 is the cut-off date for many people in their listening.  )

--Bruce

Yes, I got into Scriabin very early on with Ashkenazy's set of the solo works and later with Ogdon's. Both pianists play this music wonderfully, though many of Richter's performances are incredible! I like some of what Horowitz recorded as well.

I think getting a set of the sonatas (with some other solo works) like in the 2 CD set by Ogdon on EMI is a great way to get into the composer. the works are presented chronologically and this makes it easy to work one's way into his more "difficult" stuff. I love the journey his music takes me on, which reminds me, I must listen to some of his music soon. It's been too long.

I think we need a thread for his solo piano works.     

[bhodges]

I like all those pianists in Scriabin.  You may have mentioned this elsewhere, but have you heard Roberto Szidon's set on DG?  The sound quality is good, not excellent, but I gather his set was one of the first complete ones.

And yes, it's great to listen to the sonatas chronologically; as they progress, they get stranger and stranger, in the best way.

--Bruce

[George]

I like all those pianists in Scriabin.  You may have mentioned this elsewhere, but have you heard Roberto Szidon's set on DG? The sound quality is good, not excellent, but I gather his set was one of the first complete ones.

I haven't got that one. I have his Liszt Hungarian Rhapsodies on DG and enjoy them very much.

And yes, it's great to listen to the sonatas chronologically; as they progress, they get stranger and stranger, in the best way.

--Bruce

Yes, it's like he takes you deeper and deeper into the forest. 

[Dancing Divertimentian]

Thanks for that interview, George.

I think we need a thread for his [Scriabin's] solo piano works. 

There used to be one and I think it was on this board...or maybe the board before. Maybe Q can conjure something up....

[Dancing Divertimentian]

I'm not very up to date with Richter's discography, is 1994 Ludwigshafen still his only recording of Scriabin's 7th Sonata?

There's another one from New York, 1965, on AS Disc that seems exceedingly rare.

[George]

New 14 CD set: Richter in Hungary

Link Here Click on this image when you get to the page -

I am not sure if any/all of this has been released before. These performances do not appear on Trovar, but that discography only covers CDs released in the pianist's lifetime.

[Mandryka]

New 14 CD set: Richter in Hungary

Link Here Click on this image when you get to the page -

I am not sure if any/all of this has been released before. These performances do not appear on Trovar, but that discography only covers CDs released in the pianist's lifetime.

Well, the  Drei Klavierstücke, D. 946, and D. 576  are particularly exciting. So are the Szymanowski Mazurkas.

How to check the sound quality?

It also occured to me that I have never heard him play Chopin Waltzes -- though Trovar shows a handful of performances.

[George]

Well, the  Drei Klavierstücke, D. 946, and D. 576  are particularly exciting. So are the Szymanowski Mazurkas.

How to check the sound quality?

Good question. Perhaps wait for it to appear in the torrents? 

It also occurred to me that I have never heard him play Chopin Waltzes -- though Trovar shows a handful of performances.

Nor have I.

[Dancing Divertimentian]

I am not sure if any/all of this has been released before.

From what I can tell (cursory glance) the only recording to have been previously released seems to be the Schubert D.958 from Feb. 9, 1958.

Curiously the Budapest Pictures from 1958 isn't included although that's the performance that's recently turned up on West Hill Radio Archives (it's also been previously released on M&A).

These performances do not appear on Trovar, but that discography only covers CDs released in the pianist's lifetime.

Actually Trovar has done some expanding since Richter's death. There are updates as late as 2006. That's not to say Trovar isn't in need of a major overhaul (Tanin's site is more comprehensive but not as pleasing to read).

[Dancing Divertimentian]

It also occured to me that I have never heard him play Chopin Waltzes -- though Trovar shows a handful of performances.

There aren't too many. I only have the Waltz Op.34/3 from Moscow, 1950 (Ankh) and it's an absolute gem.

[Dancing Divertimentian]

That Ravel looks tempting. But apparently the set isn't available outside Hungary! (Though Trovar seems to be rallying forces...)

[George]

That Ravel looks tempting. But apparently the set isn't available outside Hungary! (Though Trovar seems to be rallying forces...)

It's good that I am not hungry for more Richter at the moment. 

[Peregrine]

There aren't too many. I only have the Waltz Op.34/3 from Moscow, 1950 (Ankh) and it's an absolute gem.

Agreed.

Here it is -

http://www.mediafire.com/?zeijmmyxz24

[Dancing Divertimentian]

It's good that I am not hungry for more Richter at the moment. 

You and me both! It's the age-old dilemma: never enough Richter but saturation point is imminent!

If they would JUST split the set up! All I really want are a few nuggets...

[Dancing Divertimentian]

Agreed.

Here it is -

http://www.mediafire.com/?zeijmmyxz24

Cool! Thanks for taking the time to do that.

[George]

Agreed.

Here it is -

http://www.mediafire.com/?zeijmmyxz24

Thanks!

Anyone know which browser still supports mediafire? I tried Firefox and Internet Explorer and both send back an error message that reads: "your browser does not support mediafire." WTF!? 

EDIT: must have been a temporary problem. All is well now, And that Richter Waltz is stunning! Thanks again, Peregrine! 

[Mandryka]

I just listened to the Waltz Opus 70/3 from the Music and Arts Helsinki Recital. Very characterful -- I suspect he takes it as fast as Kocsis. But Richter is rather more forceful than Kocsis I think.

Not a performance for genteel ladies to dance to.

[Peregrine]

Cool! Thanks for taking the time to do that.

And that Richter Waltz is stunning! Thanks again, Peregrine! 

No worries!

Not a performance for genteel ladies to dance to.

Nope!

[George]

Nope!

I suspect he wasn't playing for the ladies anyway.  0:)

[Holden]

New 14 CD set: Richter in Hungary

Link Here Click on this image when you get to the page -

I am not sure if any/all of this has been released before. These performances do not appear on Trovar, but that discography only covers CDs released in the pianist's lifetime.

The link doesn't work

[George]

The link doesn't work

Sorry to hear that. It works fine for me and unfortunately it's the only one that I have.

[Dancing Divertimentian]

Sorry to hear that. It works fine for me and unfortunately it's the only one that I have.

The link is working fine on this end.

[Renfield]

Sorry to hear that. It works fine for me and unfortunately it's the only one that I have.

Here's another one, where you can even buy it!

[Mandryka]

I have been playing late Richter a lot recently.

There's

• A Mozart recital from the Barbican on Philips which is very special for the K310 and K545 (1989)
• Ravel's Valses on Live Classics  and a super recital on the same label with some late Brahms and a selection of short Bach pieces (1994)
• And may be best of all a Salzburg recital on Orfeo (1977 – late enough I guess to count (?)) with one of the most interesting Chopin Barcarolles and First Scherzos I know – in fact all that Orfeo disc is pretty special (there's a great Suite Bergamasque too).

Of course some of the best Richer records are earlier. In Liszt and  Rachmaninov, Beethoven, Schubert and Prokofiev.

But I think he found a special affinity for Mozart in those later years, and maybe Bach and Chopin too. And his presentation of them – austere, stoical – is rather to my tastes. I find the Chopin on that Orfeo disc from the seventies at least as valuable and at least as deep as  the 1950 Moscow Chopin recital on Preiser.

And in some other composers –the 1977  Debussy on Orfeo , for example – when I hear Richter I have a real sense of a  pianist  who is trying to get to the bottom of the music, to grapple with the music at a deep level.

[George]

Mandryka - Have you heard Richter's Debussy preludes on BBC? They are magnificent!

[Franco]

For anyone who has this set:



Have you noticed audio problems?  The Schubert D. 990 has a weird doubling going on when I played it recently from my iTunes.

I'm trying to figure out if the problem is the disk or the transfer.

[George]

Have you noticed audio problems?  The Schubert D. 990 has a weird doubling going on when I played it recently from my iTunes.

I'm trying to figure out if the problem is the disk or the transfer.

I can check later, but I know that that set had some weird sound issues.

[Renfield]

• And may be best of all a Salzburg recital on Orfeo (1977 – late enough I guess to count (?)) with one of the most interesting Chopin Barcarolles and First Scherzos I know – in fact all that Orfeo disc is pretty special (there's a great Suite Bergamasque too).
  

Yes, that one is special; and personal, intimate. If I was to pick a single Richter disc to keep, it would probably be between that one and the one with the Liszt sonata from the Richter: The Master series.

In fact, between you and me (and the rest of the forum, and the entire internet), I am rarely as convinced of the structural stature of Debussy's piano music, as in the bergamasque from that recital.

[George]

Yes, that one is special; and personal, intimate. If I was to pick a single Richter disc to keep, it would probably be between that one and the one with the Liszt sonata from the Richter: The Master series.

In fact, between you and me (and the rest of the forum, and the entire internet), I am rarely as convinced of the structural stature of Debussy's piano music, as in the bergamasque from that recital.

OK, that's all I needed to hear. Just ordered me a copy. 

[Mandryka]

OK, that's all I needed to hear. Just ordered me a copy. 

You won't be sorry. I just played it again after making that post, and I compared the Debussy Estampes on it with the recording on DG made in the early 60s.

More colour on DG -- but the Orfeo one is much more intense and somehow, in a way I can't explain, less superficial.

I also compared the Barcarole on the 1977 Orfeo with the early 60s one on BBC Legends, and IMO exactly the same points apply.

All the Chopin on that record is extraordinary -- the Waltzes have such a sadness about them, like no other waltz recordings I can think of.

When does "Late Richter" start? Didn't he get ill and stop giving concerts for a while? And then he returned to play small venues? When did that return happen?

[Peregrine]

OK, that's all I needed to hear. Just ordered me a copy. 

Me too!

[George]

When does "Late Richter" start?

I am not sure. I don't tend to think of his career in that way. I generally love his stuff from the 60s and 70s most of all though.

[Dancing Divertimentian]

• A Mozart recital from the Barbican on Philips which is very special for the K310 and K545 (1989)

Yes, that K.310 is my favorite:

But I think he found a special affinity for Mozart in those later years, and maybe Bach and Chopin too.

I somewhat agree with this but I have a couple of Mozart concerto recordings (nos. 17 and 27) from the mid-60s that show a good amount of finesse. It probably doesn't hurt that in this case the accompaniment (Barshai and the Moscow CO) actively plays up the finesse, too, so putting the two together some pretty exquisite Mozart emerges. Though this could be the exception that proves the rule as it's been a while since I've heard any solo Mozart from Richter's "pre-western" days.

As far as Richter's Chopin it seems to me that there's no one period that stands out as "the best". Yes I would say there are differences between his pre-western Chopin and post-western but there's little that sounds "out of place" to me. Recordings from the 50s on through the late 80s always manage to have something to say to me.

And his presentation of them – austere, stoical – is rather to my tastes. I find the Chopin on that Orfeo disc from the seventies at least as valuable and at least as deep as  the 1950 Moscow Chopin recital on Preiser.

Agreed. What 70s (and beyond) Chopin I have compares very well to that 1950 Moscow recital (though I have it on Ankh).

[George]

New 14 CD set: Richter in Hungary

Link Here Click on this image when you get to the page -

I am not sure if any/all of this has been released before. These performances do not appear on Trovar, but that discography only covers CDs released in the pianist's lifetime.

I have been reading a lot of good things about this set, not just the performances, but I hear the sound is excellent as well.

A yahoo group has been established to help those outside of Hungary get a copy:
SviatoslavRichterHungary-subscribe@yahoogroups.com
Membership is fast and free.

I also suggest that all fans of Richter join the informative yahoo group:
http://launch.groups.yahoo.com/group/sviatoslavrichter/
It's free and the folks there are knowledgeable and membership may be required to join the first group I mentioned.

In addition, I read this morning that amazon.de will have this set for sale on February 19. However, I don't see it on their site. 

[Mandryka]

I somewhat agree with this  . . .

Yes. I probably should have been a bit more nuanced.

I listened yesterday to some Mozart sonatas from Prague Spring. I thought K282 was very good (1956), K280 (1966) less so.  I thaught his K533/494 from 1956 was absolutely stunning -- a pleasure to hear despite the sound.

I haven't heard Barshai and Richter in K595. Can you recommend a transfer?

I know his 1967 recording with Britten of K482 and I just don't much like it (though I'm glad to have it for the cadenza by Britten). Idem for the K453 with Ormandy (1970).


On the other hand, I like very much his 1959 K466 with Wislocki.

So maybe I should have said that his earlier Mozart is variable.

I like all his later Mozart that I have heard.

As far as Richter's Chopin it seems to me that there's no one period that stands out as "the best". Yes I would say there are differences between his pre-western Chopin and post-western but there's little that sounds "out of place" to me. Recordings from the 50s on through the late 80s always manage to have something to say to me.

I think there is less bravura in his later Chopin style. But I haven't done AB comparisons. Yet.

[Dancing Divertimentian]

I haven't heard Barshai and Richter in K595. Can you recommend a transfer?

I'd love to be able to but unfortunately this is a recording (along with no. 17) that isn't available anywhere outside Russia - and it exists only on cassette!! Trovar doesn't list it yet but Tanin's site does - though how to pronounce the label name is a mystery to me: Lyrec Twic.

I sort of lucked into this beauty when a Russian employee of my father-in-law's told me of her plans to return to Russia for a visit. What better way to unearth some rare Russian Richter I thought and hit her up for some goodies. Unfortunately her English still isn't very good (plus I wasn't clear enough with my intentions) and all I got as far as Richter was this cassette (the rest of the loot was simple standard fair/mainstream). Not complaining though since, as it turns out, musically speaking this is superb Mozart. Throw in the fact that this cassette is actually a Richter rarity (of sorts) and I'm a very happy man! (Hmm...I wonder if she'll make a return trip to Russia sometime........)

To top it all off there's the vivid sound: rich and clear - a substantial bonus! 

(Concerto no. 17 is from Leningrad, 1969, and no. 27 is from Moscow, 1966).

So maybe I should have said that his earlier Mozart is variable.

Ah, ok.

I like all his later Mozart that I have heard.

Me, too.

I think there is less bravura in his later Chopin style. But I haven't done AB comparisons. Yet.

Yes, I think that's fair. There seems to have been more of a poetic touch in his Chopin starting from about the time he first ventured to the west.

[Dancing Divertimentian]

I have been reading a lot of good things about this set, not just the performances, but I hear the sound is excellent as well.

I don't know about you George but the more I hear about "good sound" on this set the more interested I become! (Sure is expensive for us Stateside, though....).

[George]

I don't know about you George but the more I hear about "good sound" on this set the more interested I become! (Sure is expensive for us Stateside, though....).

Yes, I know. 

[George]

New 14 CD set: Richter in Hungary

Link Here Click on this image when you get to the page -

I am not sure if any/all of this has been released before. These performances do not appear on Trovar, but that discography only covers CDs released in the pianist's lifetime.

More info on buying the above set:

The new distributor US sistributor of the above set is Allegro:

http://www.allegromediagroup.com/allegro_dist.html

I have heard that they will receive it in the next month.

[George]

New 14 CD set: Richter in Hungary

Link Here Click on this image when you get to the page -

Looks like JPC got that set - http://www.jpc.de/jpcng/classic/detail/-/art/Svjatoslav-Richter-in-Ungarn-1954-1993/hnum/8576950

[Coopmv]

Sorry to hear that. It works fine for me and unfortunately it's the only one that I have.

I will wait until the set is available at the e-tailers I normally deal with.

[Peregrine]

You won't be sorry. I just played it again after making that post, and I compared the Debussy Estampes on it with the recording on DG made in the early 60s.

More colour on DG -- but the Orfeo one is much more intense and somehow, in a way I can't explain, less superficial.

I also compared the Barcarole on the 1977 Orfeo with the early 60s one on BBC Legends, and IMO exactly the same points apply.

All the Chopin on that record is extraordinary -- the Waltzes have such a sadness about them, like no other waltz recordings I can think of.

Had this disc for a few days and it is indeed an excellent addition to my Richter collection, the Debussy being a particular highlight for me.

Many thanks for the heads up!

[George]

Had this disc for a few days and it is indeed an excellent addition to my Richter collection, the Debussy being a particular highlight for me.

Many thanks for the heads up!

I assume that you have that Red BBC CD of Richter's with the preludes on it? That's a special set.

[Peregrine]

I assume that you have that Red BBC CD of Richter's with the preludes on it? That's a special set.

Yep!

[Peregrine]

Anyone heard these two recent releases on Melodiya? Sound quality etc? -



http://www.mdt.co.uk/MDTSite/product//MELCD1001626.htm



http://www.mdt.co.uk/MDTSite/product//MELCD1001622.htm

[George]

I wonder if they are re-releases?

[Dancing Divertimentian]

I wonder if they are re-releases?

Hard to tell.

Although I can add one tidbit of info on the Debussy disc: the by-line (lower right corner) reads "first time on CD" but I'm not sure what to make of that as at least two tracks from this Oct.10, 1976 recital of Bk 2 (nos. 5 & 8 ) were previously released on Music & Arts 775 (the four-CD set).

I guess it's possible Melodiya hadn't heard about the prior M&A release and it's all in good faith. Or maybe something else is intended by that statement - like only selections are first time on CD. Dunno...

What I can say for certain is the sound on these two tracks is great, aside from the occasional noise thumping in from somewhere in the hall. As far as interpretation-wise, they're top-notch.

[Dancing Divertimentian]

Just noticed that a couple of works on that Melodiya Chopin disc above have previously been available on that Music & Arts four CD set I mentioned in my last post (from the same Oct. 10, 1976 recital): the fourth Scherzo and the Etude Op.10/4. So again these at least will be in good sound, and definitely gratifying performance-wise.

Sadly the Prelude Op.28/15 that was also part of that Oct.10 recital has been omitted from the Melodiya disc. Can't imagine why as the performance is both blazing and extremely rare.

Although happily included on that Melodiya disc are yet more works from the same Oct.10 recital not otherwise available, so sound-wise (and I'm betting performance-wise) things should be up to snuff.

I'm tempted to get the disc just for that Op. 70/3 Waltz (again from the Oct.10 recital) as Richter waltzes aren't very plentiful on disc.

[Drasko]

Anyone heard these two recent releases on Melodiya? Sound quality etc? -

Presto gives complete tracklisting and states that it is live recital from May 1967:
http://www.prestoclassical.co.uk/r/Melodiya/MELCD1001626

CD Review on BBC radio 3 gives the date as 26th May 1967 and plays Etude 10/4, sound seems pretty good to me. Though their reviewer says also that it is a re-issue I couldn't find recital with that date as previously relesed at Trovar.
http://www.bbc.co.uk/programmes/b00r66zs

[Dancing Divertimentian]

Presto gives complete tracklisting and states that it is live recital from May 1967:
http://www.prestoclassical.co.uk/r/Melodiya/MELCD1001626

CD Review on BBC radio 3 gives the date as 26th May 1967 and plays Etude 10/4, sound seems pretty good to me. Though their reviewer says also that it is a re-issue I couldn't find recital with that date as previously relesed at Trovar.
http://www.bbc.co.uk/programmes/b00r66zs

That's fairly accurate except they forgot to cut and paste (and translate) the rest of the info:


ФРИДЕРИК ШОПЕН (1810–1849)
1. Полонез-фантазия, соч. 61 2. Вальс фа мажор, соч. 34 №3
3. Вальс ре-бемоль мажор, соч. 70 №3 4. Мазурка до-диез минор, соч. 63 №3
5. Мазурка до мажор, соч. 67 №3 6. Мазурка фа мажор, соч. 68 №3
7. Мазурка ля минор, соч. посмертное №2 8. Этюд до-диез минор, соч. 25 №7
9. Скерцо №4 ми мажор, соч. 54
Три ноктюрна, соч. 15:
10. Ноктюрн фа мажор 11. Ноктюрн фа-диез мажор 12. Ноктюрн соль минор
13. Ноктюрн ми мажор, соч. 62 №2 14. Ноктюрн ми минор, соч. 72 №1 (посмертный)
15. Этюд до-диез минор, соч. 10 №4
Общее время звучания: 69:35
СВЯТОСЛАВ РИХТЕР, фортепиано
Записи по трансляции из Большого зала Московской консерватории.
Годы записей: 26 мая 1967 года (13–14), 6 октября 1971 года (10–12),
10 октября 1976 года (1–9, 15).


Info from Melodiya's Live Journal.

[George]

This book comes out mid-April. 

Amazon Link

[Drasko]

That's fairly accurate ...

Yes, I'd agree in case of presto but Andrew McGregor played that 10/4 Etude and then explicitly said that recital is from 6th May 1967. That's more than sloppy for BBC radio 3 and show that is specifically about CD releases.

Thanks for the correct info.

[dirkronk]

This book comes out mid-April. 

Amazon Link

Wow. Are we to infer from the cover photo that at one time Richter actually had REAL HAIR vs. just wisps...and that he wore it in a near-pompadour style (or whatever would be the proper reference for the tall topknot projecting out in front of his forehead)? The mind reels...


Dirk,
who still remembers the sight of Richter in that crazy longhaired red wig from the Russian movie about Liszt.

[George]

Wow. Are we to infer from the cover photo that at one time Richter actually had REAL HAIR vs. just wisps...and that he wore it in a near-pompadour style (or whatever would be the proper reference for the tall topknot projecting out in front of his forehead)? The mind reels...

He aint nuttin but a hound dog...

[George]

New release:



Sviatoslav Richter plays Tchaikovsky, Prokofiev & Bach

Bach, J S:
Keyboard Concerto No. 1 in D minor, BWV1052
Czech Philharmonic Orchestra, Václav Talich

Prokofiev:
Piano Concerto No. 1 in D flat major, Op. 10
Prague Symphony Orchestra, Karel Ancerl

Tchaikovsky:
Piano Concerto No. 1 in B flat minor, Op. 23
Czech Philharmonic Orchestra, Karel Ancerl

Sviatoslav Richter (piano)

In 1950 Prague was the destination of the first-ever foreign trip of the then 35-year-old Russian genius pianist Sviatoslav Richter. He would subsequently visit the city on several more occasions. The recordings on this CD were made at the Rudolfinum within two weeks at the end of May and the beginning of June 1954. Richter is accompanied by the two finest Czech orchestras, conducted by two true legends – Václav Talich (nearing the end of his career) and Karel Ancerl (at the beginning of his tenure in the post of principal conductor of the Czech Philharmonic Orchestra).

Within such a short time, Richter had mastered Tchaikovsky's impassioned concerto in B minor, Prokofiev's purely Neoclassical concerto in D flat major, as well as Bach's paramount Baroque and timeless first piano concerto. The fact that the Russian composers Tchaikovsky and Prokofiev found an ideal interpreter in perhaps the greatest legend among 20th-century pianists appears entirely logical. Yet the superb and sensitive performance of Bach's piano (originally harpsichord) concerto serves to complete the picture of Richter's genius and versatility. These qualities are showcased in our new, sensitively re-mastered version of the legendary recordings.

Supraphon - SU40142

Sound Samples
   

[Dancing Divertimentian]

Sviatoslav Richter plays Tchaikovsky, Prokofiev & Bach

Thanks, George.

In case anyone is interested, I have this Tchaikovsky concerto in a previous Supraphon edition (remastered Ancerl Gold Edition) and while an excellent performance (and let me emphasize that) the sound is a bit problematic for me: the piano tends to get drowned out at times by the orchestra and I find myself straining to hear what the piano is doing. Kind of a detriment when it comes to this pianist, not to mention this concerto.

I have no idea if this "sensitive remastering" improves anything but the samples don't seem to indicate much change. Though that's not much to go on...

Overall though this is a mighty good performance even if I might still prefer Argerich/Kondrashin (on Philips) in this concerto. 

[George]

Thanks, George.

In case anyone is interested, I have this Tchaikovsky concerto in a previous Supraphon edition (remastered Ancerl Gold Edition) and while an excellent performance (and let me emphasize that) the sound is a bit problematic for me: the piano tends to get drowned out at times by the orchestra and I find myself straining to hear what the piano is doing. Kind of a detriment when it comes to this pianist, not to mention this concerto.

I have no idea if this "sensitive remastering" improves anything but the samples don't seem to indicate much change. Though that's not much to go on...

Nothing sensitive about it. Like the Schumann CD from last year, they No-noised it, sucking the life out of it. 

Overall though this is a mighty good performance even if I might still prefer Argerich/Kondrashin (on Philips) in this concerto.

Have you heard Richter/Mravinsky?   

[Dancing Divertimentian]

Nothing sensitive about it. Like the Schumann CD from last year, they No-noised it, sucking the life out of it. 

Hmm...I admit having the same basic impression of the Ancerl Gold remaster but not having heard any other edition I can't really judge the transfer. Being Supraphon I'd expect high quality technical work but perhaps the master tapes aren't in good shape anymore. Or maybe there's some other variable involved (don't want to think negatively, though... ).

Have you heard Richter/Mravinsky?   

I have and I used to have it on Music & Arts but I can't remember its attributes. I guess you're saying it's a beaut (and I should reacquire it posthaste?)?

What's the best transfer?

[George]

Hmm...I admit having the same basic impression of the Ancerl Gold remaster but not having heard any other edition I can't really judge the transfer. Being Supraphon I'd expect high quality technical work but perhaps the master tapes aren't in good shape anymore. Or maybe there's some other variable involved (don't want to think negatively, though... ).

I just think the latest fashion is to get as "clean" a transfer as possible, which means reducing the noise to zero. Every time I put on a CD made from an older recording (like from the 50s or 60s) and hear no noise at all I get upset. Worse still is the fact that many reviewers usually rave about how the latest transfer is better, cleaner. 

You might recall the beef I had with Leslie Gerber last year about his Richter in the 50s CDs. Those things were specia recordings that had never been released before.  yet they were cleaned up too. 

I have and I used to have it on Music & Arts but I can't remember its attributes. I guess you're saying it's a beaut (and I should reacquire it posthaste?)?

What's the best transfer?

I've only heard the Meoldiya (agian, No-noised.)  I just recall many people saying it was Richter's best recording of that work.

[Mandryka]

This is a great recording – maybe my favourite Chopon Etudes CD at the moment – after Cortot's of course.

It contains the Op 10 Etudes from 1960 which you may know from Praga.  But it also has some Op 25s which as far as I know  had previously been unreleased, also from Prague in 1960.

The whole thing is bloody marvellous. I have never heard such risk taking pay off. Every time I listen I am on the edge of my seat.  And somehow, miraculously, it's not just virtuosity and bravura. There's colour, beautiful phrasing. These Etudes certainly  do not sound like studies.

I am much more enthusiastic about this performance than the Etudes on BBC Legends from London in 1963. It's not just that the sound is better on Supraphon. It is also that the playing is better I think. More colourful; more sensitive.

The CD has some nice Schostakovich too.

[George]

This is a great recording – maybe my favourite Chopon Etudes CD at the moment – after Cortot's of course.

It contains the Op 10 Etudes from 1960 which you may know from Praga.  But it also has some Op 25s which as far as I know  had previously been unreleased, also from Prague in 1960.

Which ones? The Praga set contains Op. 25 Nos. 6-7 from 1960.

Funny, I was just telling Divertimentian the other day how much I love Richter's Praga etudes, though the ones I recall being great were the 1988 ones (Op. 10, Nos. 4, 10 and 11 plus Op. 25, Nos. 5, 8, 11, 12). I should revisit the 1960 ones.

[Mandryka]

Which ones? The Praga set contains Op. 25 Nos. 6-7 from 1960.

Funny, I was just telling Divertimentian the other day how much I love Richter's Praga etudes, though the ones I recall being great were the 1988 ones (Op. 10, Nos. 4, 10 and 11 plus Op. 25, Nos. 5, 8, 11, 12). I should revisit the 1960 ones.

Ah yes – I confused Op 25 with Op 10.

Quel bordel!

I'll try and listen to the 80s ones too this weekend and post my reaction – I am really very curious to understand better how (if at all)  Richter changed.

[George]

Ah yes – I confused Op 25 with Op 10.

Quel bordel!

I'll try and listen to the 80s ones too this weekend and post my reaction – I am really very curious to understand better how (if at all)  Richter changed.

I just listened to the 1960s ones and though I enjoyed it, I don't think his etudes are the best that I have heard. The poor sound doesn't help much. 

By the way, your Supraphon release does seem to have some unique 1960 Chopin Etude performances, according to this review.

FRÉDÉRIC CHOPIN
Etudes Op. 10 Nos. 1, 2, 3, 4, 10, 11, & 12; Etudes Op. 25 Nos. 5, 6, 7, 8, 11, & 12
Polonaise-Fantasie in A-flat Op. 61

The Chopin Etudes and Polonaise-Fantasie stem from Sviatoslav Richter's February 21, 1960 Prague recital. I believe all of these are new to CD, excepting Op. 10 Nos. 1, 2, 3, & 12 and Op. 25 Nos. 6 & 7, which previously appeared on the Praga label along with Chopin's Four Ballades from the same concert.

My question is why on earth would Praga not include those other etudes in their box? Perhaps because they appear in that later 1988 recital?

[Mandryka]

I just listened to the 1960s ones and though I enjoyed it, I don't think his etudes are the best that I have heard. The poor sound doesn't help much. 

By the way, your Supraphon release does seem to have some unique 1960 Chopin Etude performances, according to this review.

My question is why on earth would Praga not include those other etudes in their box? Perhaps because they appear in that later 1988 recital?

EITHER you are a princess as far as sound is concerned OR we're not talking about the same recording OR I need a new pair of ears BECAUSE the sound of those 60s Etudes on Supraphon -- Op 25 and Op 10  seems just fine to me.

[George]

EITHER you are a princess as far as sound is concerned OR we're not talking about the same recording OR I need a new pair of ears BECAUSE the sound of those 60s Etudes on Supraphon -- Op 25 and Op 10  seems just fine to me.

Well, the reviewer claims that the sound is improved on the Supraphon, but the two prior Richter Supraphons that I bought did not improve on the sound, so I didn't bother with this one. Now that I know it has some unique performances, I have added it to my wish list.

On the other hand, I have never been bowled over by much of Richter's Chopin. I much prefer his Schubert, Beethoven, Rachmaninov, Bach, Debussy, Prokofiev or Schumann.

As for the sound, on the Praga CD I have, I can certainly hear everything, but it sounds like 1950 rather than 1960. Plus some obvious noise reduction is being used. If the performances were superb, none of that would matter, but as it stands it detracts from an already less than impressive performance.

[Mandryka]

Well, the reviewer claims that the sound is improved on the Supraphon, but the two prior Richter Supraphons that I bought did not improve on the sound, so I didn't bother with this one. Now that I know it has some unique performances, I have added it to my wish list.

On the other hand, I have never been bowled over by much of Richter's Chopin. I much prefer his Schubert, Beethoven, Rachmaninoff, Bach, Debussy, Prokofiev or Schumann.

As for the sound, on the Prague CD I have, I can certainly hear everything, but it sounds like 1950 rather than 1960. Plus some obvious noise reduction is being used. If the performances were superb, none of that would matter, but as it stands it detracts from an already less than impressive performance.

What's wrong with the performance?

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.)

For example -- Op 10/11 -- arpeggios.  I can't think of an obviously better performance. So many pianists take this too slowly. In Richter's hands it is both exciting and beautiful.

Not psychedelic like Cortot maybe, and not witty and fun like Horowitz at his best  -- but still, his style seems to me just as valid.

If you like, choose an etude which you don't think works and I'll listen closely to it with your criticism in mind.

[George]

What's wrong with the performance?

It just didn't bowl me over like his Op. 25 No. 11 from 1988. That one made me sit up and take notice. I can't say exactly why though. With Chopin I just connect or I don't. I can't always explain it. Lately I have been striking out (Argerich and Freire's new CDs) and wondering if I should just enjoy the Chopin that I have. I want to survey my Chopin recordings at one point, but I want to finish my Rach Concerto surveys first. 

[Mandryka]

It just didn't bowl me over like his Op. 25 No. 11 from 1988. That one made me sit up and take notice. I can't say exactly why though. With Chopin I just connect or I don't. I can't always explain it. Lately I have been striking out (Argerich and Freire's new CDs) and wondering if I should just enjoy the Chopin that I have. I want to survey my Chopin recordings at one point, but I want to finish my Rach Concerto surveys first.

I understand.

Do you know Cziffra's Etudes? And Virsaladze's?

Apart from Cortot, they're the two complete sets I like the most.

[George]

I understand.

Do you know Cziffra's Etudes? And Virsaladze's?

Apart from Cortot, they're the two complete sets I like the most.

I own and enjoy Cziffra's, yes. Haven't heard Virsaladze's. I like Pollini and Ashkenazy's (both) too.

Also, Rosenthal's Etude in G flat is incredible. http://www.youtube.com/watch?v=1s2q5E_Mfbc

[Mandryka]

I own and enjoy Cziffra's, yes. Haven't heard Virsaladze's. I like Pollini and Ashkenazy's (both) too.

Also, Rosenthal's Etude in G flat is incredible. http://www.youtube.com/watch?v=1s2q5E_Mfbc

Yes -- very good.

He had a great moustache. Wish I could grow one like that.

[Dancing Divertimentian]

Funny, I was just telling Divertimentian the other day how much I love Richter's Praga etudes, though the ones I recall being great were the 1988 ones (Op. 10, Nos. 4, 10 and 11 plus Op. 25, Nos. 5, 8, 11, 12).

Yeah, I've been going over Richter's Op.25 Etudes myself lately (as you know). I haven't heard the Praga selections from 1960 but it's been fun comparing his 1988 Praga selections with his Philips/Decca counterparts from the same year.

Each set has its qualities but I think I prefer his Philips/Decca set for the better definition and greater poetry. Part of it might be the more realistically miked sound of Philips/Decca as opposed to the more aggressive, "in your face" sound of Praga - not that it's bad by any means.

[Dancing Divertimentian]

...With Chopin I just connect or I don't. I can't always explain it. Lately I have been striking out (Argerich and Freire's new CDs)...

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

[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!

[George]

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

Bill those are among Richter's finest performances. Absolute classics!

[Bogey]

Picked up the Liszt recordings.  Playing this tonight:



I am guessing this made it to cd.  Which one was it?  It would be interesting to compare as I jst posted on the vinyl thread that I prefer Richter and Moravec on vinyl, but with Serkin it is either a wash or cd wins out.  However, it would be interesting to compare apples to apples with a couple Richter performances.

[George]

Picked up the Liszt recordings.  Playing this tonight:



I am guessing this made it to cd.  Which one was it? 

This one

[Bogey]

This one

How is the sound, buddy?

[George]

How is the sound, buddy?

Give me a few.

I have the original CD and will compare that one too.

[George]

How is the sound, buddy?

The original CD sounds better, less processed. However, the piano sounds like it could use a bit of bass EQ on the solo work. The concerto sounds wonderful! The original CD is here.

But the remastered version I linked you to above has a fuller piano sound, albeit a bit more processed sounding.

[Bogey]

Thanks for the leg work, buddy.  However, I am guessing that this assignment was a nice one to take on.

[George]

Under $35 right now, shipped from amazon.

An incredible box set, compiling all of Richter's DG recordings in nine LP replica sleeves.

Free shipping, stellar performances, what are you waiting for?

[Coopmv]

Under $35 right now, shipped from amazon.

An incredible box set, compiling all of Richter's DG recordings in nine LP replica sleeves.

Free shipping, stellar performances, what are you waiting for?

Yeah George, Wasn't the set blown into our house last year at a great price or did we get a great deal from Amazon UK?   

[George]

Yeah George, Wasn't the set blown into our house last year at a great price or did we get a great deal from Amazon UK?   

I think it was blown into our houses, but to get it from amazon for that price with free shipping is even better I think.

[Coopmv]

I think it was blown into our houses, but to get it from amazon for that price with free shipping is even better I think.

Getting all of Richter's recordings on Regis by the end of the year remains to be one of my goals in addition to getting all remaining Handel operas that are not in my collection, which are very few ...

[Mandryka]

The Chopin  Ballade and the Mozart concerto and the Fantasiestueke and the Prokofiev sonata  are I think the most valuable things in that DG box (though that reflects my taste in composers  a bit I'm sure.)

I think that even people who aren't Richter freaks would see that they are great performances -- esp the Ballade and the sonata.

[George]

The Chopin  Ballade and the Mozart concerto and the Fantasiestueke and the Prokofiev sonata  are I think the most valuable things in that DG box (though that reflects my taste in composers  a bit I'm sure.)

I think that even people who aren't Richter freaks would see that they are great performances -- esp the Ballade and the sonata.

No love for the Rach 2? 

[Dancing Divertimentian]

The Chopin  Ballade and the Mozart concerto and the Fantasiestueke and the Prokofiev sonata  are I think the most valuable things in that DG box...

Re: the DG Prokofiev 8th sonata...

Definitely a great performance but the rabid Prokofievian (or Richterphile ) might want to seek out Richter's live Moscow 8th from 1961 on the Russian Revelation label. Despite the studio DG's goodness (w/ my favorite slow movement) the intensity and color in Moscow totally (despite drab sonics) take this sonata to a whole new level. Not to make this a "live vs. studio" debate but the whirlwind effects whipped up by the live Richter showcases Prokofiev's inventive genius like I've never heard it. It'll leave you literally breathless. 

The kink in the works (as usual) is the Revelation recording can't be found except on the aftermarket which, sadly, means ridiculously high prices on the Amazons.

But find a way to get it anyway.

[Mandryka]

Re: the DG Prokofiev 8th sonata...

Definitely a great performance but the rabid Prokofievian (or Richterphile ) might want to seek out Richter's live Moscow 8th from 1961 on the Russian Revelation label. Despite the studio DG's goodness (w/ my favorite slow movement) the intensity and color in Moscow totally (despite drab sonics) take this sonata to a whole new level. Not to make this a "live vs. studio" debate but the whirlwind effects whipped up by the live Richter showcase Prokofiev's inventive genius like I've never heard. It'll leave you literally breathless. 

The kink in the works (as usual) is the Revelation recording can't be found except on the aftermarket which, sadly, means ridiculously high prices on the Amazons.

But find a way to get it anyway.

Yes I have it and it's just as you say.

There are a few recordings from that period which capture very ecstatic performances --the Palexa TEs is special like that too, I think. And maybe the Chopin Mazurkas on the BBC label.

No love for the Rach 2? 

No, not really. But I'm pleased that it's a good performance.

[George]

No, not really. But I'm pleased that it's a good performance.

Oh, I see. I hadn't considered the possibility that you didn't care for the work.

[not edward]

Oh, I see. I hadn't considered the possibility that you didn't care for the work.

I don't like Rach 2, but Richter makes me forget this for 35 minutes.

And seconded on Richter's recordings of Prokofiev's 8th sonata. I've heard three of them, and I actually think the DG one is the weakest of the lot. Good news is that the 8th on Russian Revelation will be going into the public domain in many countries next year, so hopefully reissues should come out then.

Meanwhile, Parnassus need a distributor in Soviet Canuckistan so I can finally get that reissue of the Leipzig recital. Bastards.

[Dancing Divertimentian]

Good news is that the 8th on Russian Revelation will be going into the public domain in many countries next year, so hopefully reissues should come out then.

That's tantalizing. An upgrade in the sound would be most welcome, too, a la the Leipzig recital.

[Mandryka]

This is very good -- it has the most intense Prokofiev 9 that I have heard from Richter or indeed anyone else.

Sound quality is fine

[listener]

I don't like Rach 2, but Richter makes me forget this for 35 minutes.

Meanwhile, Parnassus need a distributor in Soviet Canuckistan so I can finally get that reissue of the Leipzig recital. Bastards.

If Canadian, the exchange rate for the British pound is quite attractive now.  I've have a couple of orders filled with no problem from presto (uk)   They have a couple of Richter - Parnassus in stock, including the Leipzig
http://www.prestoclassical.co.uk/r/Parnassus/PACD96032

[Dancing Divertimentian]

This is very good -- it has the most intense Prokofiev 9 that I have heard from Richter or indeed anyone else.

Sound quality is fine

Alas...more duplication.

But...if the sound is good - particularly in the second sonata - this might be a good investment!

Any idea how this second sonata stacks up (performance-wise) to the 1965 Praga and/or 1950 Ankh? Sound-wise neither of these get high marks but are imminently tolerable.

In the ninth sonata the 1981 Tokyo (on Memoria) is very impressive and very well recorded. The ninth from Praga (1956) is good, too, yet once again troubled by so-so sound.

Not to put you on the spot but duplication is getting to be problem for me with Richter so any input as far as comparisons would be welcome.

[Mandryka]

Alas...more duplication.

But...if the sound is good - particularly in the second sonata - this might be a good investment!

Any idea how this second sonata stacks up (performance-wise) to the 1965 Praga and/or 1950 Ankh? Sound-wise neither of these get high marks but are imminently tolerable.

In the ninth sonata the 1981 Tokyo (on Memoria) is very impressive and very well recorded. The ninth from Praga (1956) is good, too, yet once again troubled by so-so sound.

Not to put you on the spot but duplication is getting to be problem for me with Richter so any input as far as comparisons would be welcome.

Give me a couple of days.

From memory, my pressing of the Tokyo 9th has very much inferior sound, and the performance is less intense. But leave it till I have checked.

[not edward]

If Canadian, the exchange rate for the British pound is quite attractive now.  I've have a couple of orders filled with no problem from presto (uk)   They have a couple of Richter - Parnassus in stock, including the Leipzig
http://www.prestoclassical.co.uk/r/Parnassus/PACD96032

Good to know. I'm not sure why I didn't think about ordering from the UK, since orders from there usually arrive quicker than ones from the US. Now if only there weren't obscene import charges on orders above $20--I hate having to order things piecemeal.

I'll be interested in comments on that Prokofiev issue too. How's the 2nd sonata? I'm aware that it's technically possible to play the piece better than the performance on the Praga issue: I'll just have to hear it to believe it.

[Coopmv]

Good to know. I'm not sure why I didn't think about ordering from the UK, since orders from there usually arrive quicker than ones from the US. Now if only there weren't obscene import charges on orders above $20--I hate having to order things piecemeal.

I'll be interested in comments on that Prokofiev issue too. How's the 2nd sonata? I'm aware that it's technically possible to play the piece better than the performance on the Praga issue: I'll just have to hear it to believe it.

I once placed a single order at close to $200 USD and there was no duty imposed by the US Custom.  But who knows, this may change with the federal government drowning in a sea of red ink ...

[not edward]

Maybe someone else has posted on it, but does anyone have a verdict on these issues?

[George]

Haven't heard it (or bought it) yet, edward, sorry.

[Mandryka]

Alas...more duplication.

But...if the sound is good - particularly in the second sonata - this might be a good investment!

Any idea how this second sonata stacks up (performance-wise) to the 1965 Praga and/or 1950 Ankh? Sound-wise neither of these get high marks but are imminently tolerable.

In the ninth sonata the 1981 Tokyo (on Memoria) is very impressive and very well recorded. The ninth from Praga (1956) is good, too, yet once again troubled by so-so sound.

Not to put you on the spot but duplication is getting to be problem for me with Richter so any input as far as comparisons would be welcome.

The 9th on the Melodya disc is superior to the Tokyo concert on Memoria -- better sound, a more lively and electric performance.

The sound quality of the  2nd sonata  is absolutely fine -- a bit of background noise but you can hear the music very well, with no pain. I don't have any other recording of him in Prokofiev 2 (as far as I remember)

He uses a fantastic steely soviet piano which I appreciate very much in this music.

[Dancing Divertimentian]

The 9th on the Melodya disc is superior to the Tokyo concert on Memoria -- better sound, a more lively and electric performance.

The sound quality of the  2nd sonata  is absolutely fine -- a bit of background noise but you can hear the music very well, with no pain. I don't have any other recording of him in Prokofiev 2 (as far as I remember)

He uses a fantastic steely soviet piano which I appreciate very much in this music.

Thanks, Mandryka. I may have to get this if only for the second.

[Scarpia]

Good to know. I'm not sure why I didn't think about ordering from the UK, since orders from there usually arrive quicker than ones from the US. Now if only there weren't obscene import charges on orders above $20--I hate having to order things piecemeal.

Were you ever charged import duty?  I have ordered from mdt, many times, as well as from sites in Germany, France and Australia.  The total charge is usually well over $20, and I have never been charged anything.

[Mandryka]

Mozart: Piano Sonata in B flat major, K570
Prokofiev: Piano Sonata no.4 in C minor, op.29 "from Old Notebooks"
Debussy: Etudes nos.1, 2, 3, 4, 8, 10 & 12
Debussy: Preludes, Book II, nos.11 & 12

Doremi: DHR7796

This CD contains  a hallucinatory, ecstatic, vibrant  performance of 7 Debussy Etudes.

I also quite enjoyed the Mozart sonata (K570) – I like Richter's style in Mozart.

Sound -- I have a very good hi-fi, and so that gets to the music in the CD. But you need to have a good hi-fi. These Etudes are very revealing -- so it's probably worth upscaling you system.

[Bogey]

First spin.  This excerpt from back of cover:

Before the recording was completed  five sessions later, Richter, an unrelenting perfectionist, had played both of Liszt's redoubtable concerti several times in order to realize the finest performance of which he was capable.  Certain movements were repeated without pause, Richter's only refreshment consisting of a sugar cube or small chocolate square, quantities of which he kept on the piano at all times.  The standards he set for himself would have intimidated a pianist with lesser stamina; during the final session, all had agreed that the concertos were"in the can", but the pianist, with a gleam in his eye, noted that there was still time left to record the First Concerto once again.  To everyones amazement, his last take surpassed all his previous performances.  A burst of applause greeted him as he arose from the piano.

[George]

Great story, Bill! 

[Mandryka]

Schubert, Impromptu in A flat major, Op 90/4), Praga (1972) and Olympia (1979); Impromptu in A flat, D 935 no. 2, Melodyia (1950)

I thought the Praga recording showed some of the best and worst characteristics of SR's Schubert. On the plus side, this is very exciting. On the minus side, it's vulgar. Great big dynamic contrasts – huge crashing forte passages followed by tear  jerking pianissimos.

I thought the Olympia perforemnce is better. There's still some exiitement – though it's not as electric as the Prague performance. But in terms of depth of feeling it's much more interesting – the recording seems to have a soupçon of the  special Richterian melancholy which he can sometimes (rarely) evoke, and which I find like.

I also listened to the A flat impromptu D935/2 on Melodyia. I thought this was really for Richter freaks only – as before the vast dynamic range was exciting and electric, but overall the result is a bit shallow maybe.

The Olympia record also has a nice perfromance of the E flat Op 90/2.

[George]

Schubert, Impromptu in A flat major, Op 90/4), Praga (1972) and Olympia (1979); Impromptu in A flat, D 935 no. 2, Melodyia (1950)

I thought the Olympia perforemnce is better. There's still some exiitement – though it's not as electric as the Prague performance. But in terms of depth of feeling it's much more interesting – the recording seems to have a soupçon of the  special Richterian melancholy which he can sometimes (rarely) evoke, and which I find like.

I also listened to the A flat impromptu D935/2 on Melodyia. I thought this was really for Richter freaks only – as before the vast dynamic range was exciting and electric, but overall the result is a bit shallow maybe.

The Olympia record also has a nice performance of the E flat Op 90/2.

Haven't heard the Praga (or the Melodiya, for that matter), it's not part of the "Richter in Prague" set. Do you have a link to the CD?

[Mandryka]

Haven't heard the Praga (or the Melodiya, for that matter), it's not part of the "Richter in Prague" set. Do you have a link to the CD?

Disc 14 track 5 of the big box, George. With the D960 and a Liszt Polonaise.

In fairness to SR, it sounds to me that he's playing it as a rousing encore -- the final bar is very "rousing" and the audience leap in with applause. It makes a good lollipop.

This is the Melodyia (I like the Bartok a lot on it)

[ccar]

Schubert, Impromptu in A flat major, Op 90/4), Praga (1972) and Olympia (1979); Impromptu in A flat, D 935 no. 2, Melodyia (1950)

I thought the Praga recording showed some of the best and worst characteristics of SR's Schubert. On the plus side, this is very exciting. On the minus side, it's vulgar. Great big dynamic contrasts – huge crashing forte passages followed by tear  jerking pianissimos.

I thought the Olympia perforemnce is better. There's still some exiitement – though it's not as electric as the Prague performance. But in terms of depth of feeling it's much more interesting – the recording seems to have a soupçon of the  special Richterian melancholy which he can sometimes (rarely) evoke, and which I find like.

I also listened to the A flat impromptu D935/2 on Melodyia. I thought this was really for Richter freaks only – as before the vast dynamic range was exciting and electric, but overall the result is a bit shallow maybe.

The Olympia record also has a nice perfromance of the E flat Op 90/2.

Mandryka, thanks for the comments. Your impressions on the Impromptus gave me a nice pretext of relistening to Richter and these beautiful pieces.

As usual is not easy to order his multiple recordings. So, I tried to make an updated list (AFAIK) of Richter's commercial recordings of the Schubert Impromptus. 

      D.899 No.2 – Moscow 1950; Sofia 1958; Tokyo 1979
      D.899 No.3 – Kiev 1964; Budapest 1967; Moscow 1967; Kiev 1967
      D.899 No.4 – Sofia 1958; Budapest 1958; Kiev 1959; New York 1960; Kiev 1967; Duvrovnik 1967; Budapest
                           1967; Moscow 1967; Praga 1972; Munich 1978; Tokyo 1979
      D 935 No.2 – Moscow 1952; Salzburg 1972

And here are also some impressions of the readings I find more interesting or characterful: 
   
E flat major Op.90 D.899 No.2 – the Tokyo 1979 has the best sound and impresses me the most by the fluent but poised drive, beautiful color/tone, nice contrasts between hands and overall dramatic tension; the Sofia 1958 is a much more energetic reading but with very imaginative phrasing details; the Moscow 1950 is full of drive, almost like an etude, but for me is perhaps too quick and less interesting

B flat major Op.90 D.899 No.3 - the Kiev 1964 has a distant sound but I found this performance very special – the intimacy and apparent detachment gives the piece an almost religious hymnic character; the latter readings have better sound, more contrasts and dramatic tension, but the unique ambiance and poetry of the 1964 reading is almost miraculous.

A flat minor Op.90 D.899 No.4 – listening to the Sofia 1958 recital it is difficult to imagine a more intense and dramatic interpretation of this piece; some may feel it is too intense, but beneath the tension there is still poetry and beautiful singing phrases; the contrast of the Sofia recital with the Praga 1972 is immense – this is a much more intimate and poetic, almost solar reading, with beautiful piano colors and poignant phrasing; the Budapest 1967 strikes for the apparent poised detachment and sadness; the Tokyo 1979 has better sound and for me it gives the more noble character of the piece, combining intimacy and dramatic tension, with wonderful color contrasts and phrasing.     
       
A flat major Op.142 D.935 No.2 – it is curious to compare the reflective Moscow 1952 A flat major reading with the Moscow 1950 recording of the E flat major. Obviously these are two completely different pieces but it is amazing how the young Richter could already give such contrasting characters. And for me it is also interesting to notice how in the 1952 reading Richter could already build that dreamy and dramatic tension we associate to most of his Schubert. And if we listen to the Salzburg 1972 we get an even slower and darker reading of the A flat major – with even more contrasts and tension – almost like one of his late Schubert sonatas.               

[Mandryka]

Very good, ccar.

I love that Sofia D.899 No.4.  I still think that Prague one is brash by comparison. "Solar" is a more charitable word for it -- I certainly see what you mean.

[DavidRoss]

Gee, I never noticed before how much Richter looks like a pissed off Tommy Smothers.

[ammar]

The resemblance is even more uncanny when you find out that they're both carrying a pink plastic lobster out of shot 

(and no, that isn't a euphemism, before anyone asks -  http://ahmedfernando.wordpress.com/2008/08/26/richters-pink-plastic-lobster/ )

[not edward]

The resemblance is even more uncanny when you find out that they're both carrying a pink plastic lobster out of shot 

(and no, that isn't a euphemism, before anyone asks -  http://ahmedfernando.wordpress.com/2008/08/26/richters-pink-plastic-lobster/ )

And an even more uncanny coincidence is that within a couple of years of Richter's death, the first episode of Futurama was bringing that plastic lobster to life on TV!

[ammar]

In many ways, this explains the rumours surrounding Richter's sexuality - all the girls were frightened off when asked to go backstage and examine his 'pink plastic lobster'. I guess Nina Dorliak got to see it once, before a lieder recital, and was therefore more understanding of his request 

( I like British comedian Ross Noble's idea of engaging in activities which sound like euphemisms, but aren't : ' No, I genuinely was nudging the rhinoceros last night ' )

[Dancing Divertimentian]

The resemblance is even more uncanny when you find out that they're both carrying a pink plastic lobster out of shot 

(and no, that isn't a euphemism, before anyone asks -  http://ahmedfernando.wordpress.com/2008/08/26/richters-pink-plastic-lobster/ )

That writer has absolutely no idea what he's talking about. The TRUTH about Richter and the lobster isn't nearly as dramatic as he'd have it at all. The tale of "Richter And The Lobster" begins and ends with a phase Richter went through as he battled a serious bout of depression. All told it was something he simply had to DEAL with, not as something consciously concocted, as he rode out the depression. Why the lobster not even he knew. Only that it helped, somehow.

Eventually the phase ended and the lobster went away. It was but a single episode in his career that came and went and lasted in terms of mere months (no doubt tough months). IOW, a fluke. It had nothing at all to do with any supposed life-long, "pre-concert" ritual.

Sad that stuff like this gets spread around in the name of "entertainment"...

[ammar]

Firstly, a big mea culpa, all the moreso because I already knew that the lobster was linked with Richter's period of depression. Let that be a warning to anybody who hastily turns to google for evidence in a thread post 

But there is plenty of humour in the rest of Richter's behaviour - I challenge anyone to read the excerpts from his notebooks ( http://www.amazon.co.uk/Sviatoslav-Richter-Notebooks-Conversations-Monsaingeon/dp/0691095493/ ) and not laugh out loud at the absurdity of some of the entries.

What I also find amusing (and more importantly, brings us back on topic) is that this series of posts has outlasted the discount on the EMI set, which is now back on sale for £21.27.

[Dancing Divertimentian]

But there is plenty of humour in the rest of Richter's behaviour - I challenge anyone to read the excerpts from his notebooks ( http://www.amazon.co.uk/Sviatoslav-Richter-Notebooks-Conversations-Monsaingeon/dp/0691095493/ ) and not laugh out loud at the absurdity of some of the entries.

Yes, THAT is definitely true!

[Coopmv]

That writer has absolutely no idea what he's talking about. The TRUTH about Richter and the lobster isn't nearly as dramatic as he'd have it at all. The tale of "Richter And The Lobster" begins and ends with a phase Richter went through as he battled a serious bout of depression. All told it was something he simply had to DEAL with, not as something consciously concocted, as he rode out the depression. Why the lobster not even he knew. Only that it helped, somehow.

Eventually the phase ended and the lobster went away. It was but a single episode in his career that came and went and lasted in terms of mere months (no doubt tough months). IOW, a fluke. It had nothing at all to do with any supposed life-long, "pre-concert" ritual.

Sad that stuff like this gets spread around in the name of "entertainment"...

Not sure what to make of the claim by this author that the great violinist Henryk Szeryng took large quantities of cocaine before solo concerts to calm his nerve.  What kind of evidence did he have?

[Dancing Divertimentian]

Not sure what to make of the claim by this author that the great violinist Henryk Szeryng took large quantities of cocaine before solo concerts to calm his nerve.  What kind of evidence did he have?

Yeah, the lobster tale (...no pun ) sure got twisted all around so I can't help wondering about this one, too...

[Bogey]

 8)Two for $2 each:



1958

Along with an lp of Schumann Concerto Op 54 and Mozart Concerto 20 on a Vox album.

[George]

8)Two for $2 each:


1958

Along with an lp of Schumann Concerto Op 54 and Mozart Concerto 20 on a Vox album.

Very nice, Bill! 

[Brahmsian]

Just want to confirm that George has posted at least once on every page of the 'Richter' thread (36 pages and counting).  Which does not mean he is a necessarily a fan.

I had nothing better to do than verify this fact. 

[Bogey]

Just want to confirm that George has posted at least once on every page of the 'Richter' thread (36 pages and counting).  Which does not mean he is a necessarily a fan.

I had nothing better to do than verify this fact. 

Only once on some pages?!

[George]

Just want to confirm that George has posted at least once on every page of the 'Richter' thread (36 pages and counting).  Which does not mean he is a necessarily a fan.

I had nothing better to do than verify this fact. 

If Richter is forgotten, it won't be my fault.  0:)

[Bogey]

Thoughts?  This is a Denon release.  Here:

http://www.amazon.com/Beethoven-Piano-Sonatas-Nos-19/dp/B001QWFUDI/ref=sr_1_1?ie=UTF8&s=music&qid=1284432284&sr=1-1

Sorry if I missed it earlier on this thread.

[George]

Thoughts?  This is a Denon release.  Here:
http://www.amazon.com/Beethoven-Piano-Sonatas-Nos-19/dp/B001QWFUDI/ref=sr_1_1?ie=UTF8&s=music&qid=1284432284&sr=1-1
Sorry if I missed it earlier on this thread.

I have that one, Bill. I just popped the CD to refresh my memory. The piano sound is very dull. It has a processed (noise reduced) sound that I really don't like. However, the performances are very good, so at that marketplace price (under $4 new), I'd say grab it. 

The liner notes do not indicate when and where these performances came from, but I did some detective work and I am fairly certain that they are from Leningrad, 1960. This was a great time for Richter, IMO. His power and intensity at that time was stunning.



These three performances were previously released on Leningrad Masters LM 1323 (CD, pictured above.) Haven't heard (or seen) that CD to compare. I see a few copies on eBay. Here's a pretty cheap used one. 

[Dancing Divertimentian]

The piano sound is very dull. It has a processed (noise reduced) sound that I really don't like. However, the performances are very good, so at that marketplace price (under $4 new), I'd say grab it.

Yep. Sadly this disc is pretty crappy sonics-wise - but the performances are some of my favorite Richter Beethoven! He's definitely "on" here and clearly is relishing the moment.

I'm with George, Bill, grab it!

[Dancing Divertimentian]

While we're here, there's more great news for Richter fans: that 1967 Spoleto Festival recital is FINALLY making its way back into print - on CD!!

I only hope there isn't any downgrading of the sound on the new issue, though. The original Turnabout LPs had good, clean stereo sound, if ever so slightly recorded at a low level. But no major problem.

Contents are:

Debussy's book 2 preludes
Haydn's piano sonata no.37
Chopin's first Ballade
Schumann's Novelettes Op. 21, nos. 1&2

Amazon link is here.

[George]

Thanks for the news, Don! 

I have never heard this recital before. Is it one of the essential Richter performances?

[Coopmv]

I have that one, Bill. I just popped the CD to refresh my memory. The piano sound is very dull. It has a processed (noise reduced) sound that I really don't like. However, the performances are very good, so at that marketplace price (under $4 new), I'd say grab it. 

The liner notes do not indicate when and where these performances came from, but I did some detective work and I am fairly certain that they are from Leningrad, 1960. This was a great time for Richter, IMO. His power and intensity at that time was stunning.



These three performances were previously released on Leningrad Masters LM 1323 (CD, pictured above.) Haven't heard (or seen) that CD to compare. I see a few copies on eBay. Here's a pretty cheap used one.

I have a number of CD's by Helene Grimaud on Denon but they sound pretty good to me ...   

[Dancing Divertimentian]

I have a number of CD's by Helene Grimaud on Denon but they sound pretty good to me ...   

Yes, Denon typically does have high technical standards but in this instance the bad sound isn't their fault. They didn't record this recital - it's some ancient air-check or pirate job that was badly recorded in the first place. So when the source is bad already there's only so much an engineer can do, alas... (which I'm sure you know).

I actually heard that old Leningrad Masters CD years ago and it wasn't quality sonic goods then either. But Denon can be commended for bucking the "pristine sound" trend and reissuing a recording of high artistic merit, warts and all. Through the scratchy sound is artistic dynamite and fully justifies the reissue. 

[Dancing Divertimentian]

Thanks for the news, Don! 

I have never heard this recital before. Is it one of the essential Richter performances?

I find it to be pretty indispensable for two reasons: First, the Haydn is rare on disc, since 1967 was the only year he played this sonata (kind of like his Hammerklavier year - 1975). Another recording of this sonata actually IS available - on BBC Legends - but I haven't heard it (more about this below).

Second, the Debussy book 2 preludes are exquisite, rivaling his BBC Legends performance of the same year (1967).

But what nudges this Spoleto recital ahead of the BBC Legends Debussy disc (and probably the BBC Haydn disc) is the sound. Many of those BBC Legends discs are afflicted with somewhat diffuse sound (with notable exceptions) so the crisper, better focused, and all around "airier" sound in Spoleto gives me a better picture of what Richter's shooting for in the Debussy (even on LP). It simply gives the Debussy more sparkle. Which is important to me.

I've been waiting for this recital's resurrection on disc for ages principally for the Debussy. Now all I need is for the issuing label's engineers to get the sound right.

[dirkronk]

While we're here, there's more great news for Richter fans: that 1967 Spoleto Festival recital is FINALLY making its way back into print - on CD!!

I only hope there isn't any downgrading of the sound on the new issue, though. The original Turnabout LPs had good, clean stereo sound, if ever so slightly recorded at a low level. But no major problem.

Contents are:

Debussy's book 2 preludes
Haydn's piano sonata no.37
Chopin's first Ballade
Schumann's Novelettes Op. 21, nos. 1&2

Amazon link is here.

Don...I have two early Vox Turnabouts with Richter in concert (not counting the licensed concertos from Melodiya). Wasn't the Spoleto the recital with the crashing piano lid? The one that Richter essentially played right on through? If so, you're right. Very good live sound...lots of presence and dimension...assuming you have a decent vinyl pressing (not always a sure thing with Vox Turnabout of that era). And assuming you've cranked the volume a bit to maximize the aural illusion, the crashing lid thingie always brings uninitiated listeners to full alert.


Dirk

[Mandryka]

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

[Dancing Divertimentian]

Don...I have two early Vox Turnabouts with Richter in concert (not counting the licensed concertos from Melodiya). Wasn't the Spoleto the recital with the crashing piano lid? The one that Richter essentially played right on through? If so, you're right. Very good live sound...lots of presence and dimension...assuming you have a decent vinyl pressing (not always a sure thing with Vox Turnabout of that era). And assuming you've cranked the volume a bit to maximize the aural illusion, the crashing lid thingie always brings uninitiated listeners to full alert.


Dirk

Oh, is THAT what that sound is?? I'd never heard the story behind the boom. I had just assumed it was someone carelessly slamming a door or some such. You're right, though, it's jarring. It occurs in the middle of the first Debussy piece. Thankfully nothing seems to change sonically because of it but what concentration by Richter to just keep on truckin' in spite of this!   

[Dancing Divertimentian]

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

I have both the live Praga and studio RCA.

Distortion is a major factor in the Praga, especially the louder things get, but otherwise the sound is okay. No complaints about the performance.

The RCA is blessed with rich, colorful sound (I have the earlier RCA/Papillon edition) and I've always found the performance superb.

I'd be hard pressed to recommend one over the other which says a lot about the RCA.

[George]

I'd be hard pressed to recommend one over the other which says a lot about the RCA.

I have that RCA. Must spin it later. 

[Holden]

The RCA definitely!

[Mandryka]

The RCA is blessed with rich, colorful sound (I have the earlier RCA/Papillon edition) and I've always found the performance superb.

The RCA definitely!

Yes, I bought that RCA/Papillons CD and the Op 26  is a very good example of Richter's art. Thanks for pointing it out.

[ririiii]

As my first post here, and being in a Richter mood, I wanted to mention that this sonata existed also in this french box relased in 2001 that I have and enjoy.  It included Richter's remaining RCA recs [Beethoven 1/Munch, Brahms 2/Leinsdorf, Beethoven 22 and this trmendous Appassionata.

[George]

Welcome to GMG, ririiii! 

[Dancing Divertimentian]

^Took the plunge and I must say it was worth the meager outlay. Wasted no time diving right into Debussy's Book 2 Preludes (haven't heard the rest of the disc and the following reflects that).

The sound is a definite improvement over the Vox/Turnabout LPs though still a pale shadow of Richter's commercial Debussy (on DG). His Vanguard Debussy is also much better recorded.

Not that anything is terribly amiss, it's just that the bass is a bit shy. Fortunately the highs and mids are cleanly captured which perfectly transmits to the listener all the knuckle-twisting runs and tiny pirouettes laced throughout music. And Richter does an amazing job of fleshing everything out.

A/B comparisons with another recording of Debussy's Book 2 Preludes - that on a BBC Legends disc - left me feeling that neither recording came out aces in the sound department, with a bass-shy Musical Concepts and a BBC Legends disc sporting sound that's overall too tubby and diffuse for my taste. Sort of muddy....

So the world still awaits the "perfect" Book 2 from Richter but as it stands the Musical Concepts disc is a fine stop-gap, with the BBC Legends recording a worthy supplement.

[George]

A/B comparisons with another recording of Debussy's Book 2 Preludes - that on a BBC Legends disc - left me feeling that neither recording came out aces in the sound department, with a bass-shy Musical Concepts and a BBC Legends disc sporting sound that's overall too tubby and diffuse for my taste. Sort of muddy....

So the world still awaits the "perfect" Book 2 from Richter but as it stands the Musical Concepts disc is a fine stop-gap, with the BBC Legends recording a worthy supplement.

Thanks for your review, Don.

Performance-wise, which is better? The BBC or the Musical Concepts?

[Dancing Divertimentian]

Thanks for your review, Don.

You're welcome, George.

Performance-wise, which is better? The BBC or the Musical Concepts?

Probably the Musical Concepts performance but undoubtedly the clearer sound factors into this. One of Richter's endearing qualities is his ability to cleanly and imaginatively articulate the tiniest of musical details - with startling virtuosity! - and hearing this applied to Debussy's extremely subtle music is an intense pleasure. Spoleto's cleaner sonic picture is a definite aid in transmitting this.

Setting aside sonic issues for a moment, in an attempt to get at the actual music, I will say that in Spoleto I hear perhaps more concentration from Richter, which usually from Richter translates into more liberated and freer playing - i.e., greater spontaneity. Everything just sounds wonderfully fresh and alive, here.

BUT...again, how much do sonic factors weigh in on this? Don't really know but I can say with certainty that I enjoy this Spoleto recording!

[George]

Thanks, Don.

Of course, I shall be buying this CD anyway. the question is how fast will I be running to the store? 

[Mandryka]

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.

[Clever Hans]

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.

Also 1967 Moscow Conservatory:

http://www.mdt.co.uk/MDTSite/product/CD/MELCD1001622.htm

[Dancing Divertimentian]

Thanks, Don.

Of course, I shall be buying this CD anyway. the question is how fast will I be running to the store? 

[Coopmv]

Thanks, Don.

Of course, I shall be buying this CD anyway. the question is how fast will I be running to the store? 

Or how fast you will click for that one click checkout ...   

[George]

Or how fast you will click for that one click checkout ...   

Nah, it'll be cheaper at JandR, where I plan to pick it up tomorrow.

[Coopmv]

Nah, it'll be cheaper at JandR, where I plan to pick it up tomorrow.

JandR is now open 7 days a week?

[George]

JandR is now open 7 days a week?

It always was.

[Coopmv]

It always was.

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

[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

[Bogey]

Interesting.  Grabbed this used lp for 3 bones:



Haydn Sonata in E Major, Hob. XVI, No. 22
Schumann Two Novelettes, Op.21
deFalla Danse Rituelle du Feu from "El Amor Brujo"
Chopin Ballade in G Minor
Prokofiev Sonata No. 7 in B Flat Major, Op. 83

Well, I was digging around trying to find the recording date of this recital because the jacket does not have a date at all.  Look what I found:

http://launch.groups.yahoo.com/group/sviatoslavrichter/message/1835?o=1&d=-1

Also, can anyone here help me date this recital?  I want to go through my Richter lps and put a note in with each that has the recording dates and hoping you folks could help.

[George]

Interesting.  Grabbed this used lp for 3 bones:



Haydn Sonata in E Major, Hob. XVI, No. 22
Schumann Two Novelettes, Op.21
deFalla Danse Rituelle du Feu from "El Amor Brujo"
Chopin Ballade in G Minor
Prokofiev Sonata No. 7 in B Flat Major, Op. 83

Well, I was digging around trying to find the recording date of this recital because the jacket does not have a date at all.  Look what I found:

http://launch.groups.yahoo.com/group/sviatoslavrichter/message/1835?o=1&d=-1

Also, can anyone here help me date this recital?  I want to go through my Richter lps and put a note in with each that has the recording dates and hoping you folks could help.

Not sure of the date, Bill, but http://www.trovar.com/str/discs/index.html should have all the info you need.

[Bogey]

Was it Spoleto, 14 July 1967?

[Bogey]

Yup.  Your site confirmed it, buddy!  thanks!

[George]

Yup.  Your site confirmed it, buddy!  thanks!

I recommend bookmarking that one, Bill. 

[Bogey]

I recommend bookmarking that one, Bill. 

I did so while you typed your last post.

[George]

Finally found a cheap copy of this CD:

[George]

Just read in the liner notes to the Originals issue of Richter's Rach 2 that he recorded the Rach 4. They say it's an early reccording. Is that true? Or is it a missprint?

According to Trovar:

Concertos no. 3 and no. 4
◦were never recorded by Richter

[ccar]

Just read in the liner notes to the Originals issue of Richter's Rach 2 that he recorded the Rach 4. They say it's an early reccording. Is that true? Or is it a missprint?

AFAIK Richter never recorded neither the Rach 3 nor Rach 4.  And apparently he also never played them, at least in public performances.     

[Dancing Divertimentian]

Just read in the liner notes to the Originals issue of Richter's Rach 2 that he recorded the Rach 4. They say it's an early reccording. Is that true? Or is it a missprint?

According to Trovar:

Yeah, Trovar has it right. And Monsaingeon's Notebooks confirms it. Richter never performed the Rach 4 in concert.

[George]

Yeah, Trovar has it right. And Monsaingeon's Notebooks confirms it. Richter never performed the Rach 4 in concert.

Ok, thanks Don and ccar!

[George]

Now listening to a BBC program that discusses, among other things, the new book about Sviatoslav Richter.

It can be heard here during the next 7 days: http://www.bbc.co.uk/programmes/b00xmv0q

The Richter portion begins at 13:40

[Bogey]

Now:


Angel S 35679 (LP)
London, 1 - 5 Aug 1961

On a bummer note, I am chucking two of my DG Richter platters because the pops and hisses which are at a level even too much for me.  They were only $1 a piece when I nabbed them, so it was worth the try.

[Mandryka]

Is there a CD with this (good) performance?

http://www.youtube.com/v/ZYOqmfiKCNE

[George]

Now:


Angel S 35679 (LP)
London, 1 - 5 Aug 1961

On a bummer note, I am chucking two of my DG Richter platters because the pops and hisses which are at a level even too much for me.  They were only $1 a piece when I nabbed them, so it was worth the try.

FWIW, if you ever plan to get a turntable to connect to your computer to digitize your LPs, you'd be able to clean up the sound a lot.

[George]

Is there a CD with this (good) performance?

http://www.youtube.com/v/ZYOqmfiKCNE

Did you check the Trovar website?

[Mandryka]

Did you check the Trovar website?

Yes -- I can't see any Schubert/ Liszt there

[ccar]

Is there a CD with this (good) performance?

http://www.youtube.com/v/ZYOqmfiKCNE

Moscow 8 Dec 1949 - Parnassus - volume 6

[asin]B003F18094[/asin]

[George]

Moscow 8 Dec 1949 - Parnassus - volume 6

I might have guessed, as it sounds overfiltered.

[ccar]

I might have guessed, as it sounds overfiltered.

The UTube is always a bad sound sampler. In the CD the sound is actually much better (for a live 1949, obviously).   

[Bogey]

FWIW, if you ever plan to get a turntable to connect to your computer to digitize your LPs, you'd be able to clean up the sound a lot.

Blasphemy!

That would be like cleaning up the Mona Lisa. Only true experts should mess with such masterpieces.....plus, I like my old vinyl sounding like old vinyl.  Just not too old.

[George]

Blasphemy!

That would be like cleaning up the Mona Lisa. Only true experts should mess with such masterpieces.....plus, I like my old vinyl sounding like old vinyl.  Just not too old.

No problem, so digitize it and clean it up a little. People do that all the time, even Ward Marston. 

[Mandryka]

Moscow 8 Dec 1949 - Parnassus - volume 6

Thanks. I'll buy it. I collect records of the Op 45 prelude and I am like Liszt.

Someone will earth up a set of Goldbergs and the Vingt Regards by Richter next. 

[Coopmv]

FWIW, if you ever plan to get a turntable to connect to your computer to digitize your LPs, you'd be able to clean up the sound a lot.

Bill,

This outboard USB device by ION will set you back less than $50.  I bought one almost 2 years ago.  It digitizes both LP and tape ...

[Mandryka]

I want to buy a Schumann quintet but I don't know which one to get.

AFAIK therea are three: Doremi, Teldec and Meldyia. I think the Doremi and  Meldyia record the same recital (31 December 1985.) Herman has said that the Doremi has bad  sound. Has anyone tried the Melodyia?

And then there's the Teldec (Nantes 1991.)  How is that in terms of performance and sound?


[asin]B0040HPKD6[/asin]    [asin]B00000JGXA[/asin]   [asin]B000058TGA[/asin]

[George]

Sorry, Mandryka, I don't have any of those. But I am very curious about them.

[Mandryka]

I've heard it now. First impressions. Very impressive in the final movement. Like totally crazy.  And very well balanced throughout, in terms of the relation of the piano to the strings.  The sound is fine.

It remains to compare it with the Teldec. We already know that the Doremi sounds poor, because Herman says so.

[asin]B0040HPKD6[/asin] 

[Mandryka]

Trovar only list one Trout Quintet -- Hohenems, 18 June 1980 on EMI. I have it and it has never become a favourite. It just isn't exuberant enough or fast enough  for me. Too grave.

But what is this? The amazon.co.uk says it was released in 2005 recorded in1969. Is it  good?

[ccar]

Trovar only list one Trout Quintet -- Hohenems, 18 June 1980 on EMI.
But what is this? The amazon.co.uk says it was released in 2005 recorded in1969. Is it  good?

The Trout is the one (and only, AFAIK) already issued by EMI (1980). The other work in this Olympia edition is the Sonata Gran Duo Op.162,  performed by Oistrakh and Bauer - and this is the one recorded in 1969.   

[MishaK]

I recently acquired this:

[asin]B00001W07K[/asin]

which contains a really interesting and very personal take on Debussy's preludes, unlike the performances of any other pianist. Not contrary to the music's spirit at all, but not the way you would conceive these pieces necessarily from just looking at the score. Fascinating listening experience.

[George]

which contains a really interesting and very personal take on Debussy's preludes, unlike the performances of any other pianist. Not contrary to the music's spirit at all, but not the way you would conceive these pieces necessarily from just looking at the score. Fascinating listening experience.

I love that set.

[Sadko]

No problem, so digitize it and clean it up a little. People do that all the time, even Ward Marston. 

I have an old sound cleaning tool (software), but it works well, you can easily check how much correction sounds good. I like it's "difference" feature, which allows you to listen to what you are filtering out. When you hear just noise you can be quite sure not to filter out some subtle things.

[George]

Tracklisting here

About this release
One of the greatest pianists of the 20th century, Sviatoslav Richter was also one of the most self contained, enigmatic and elusive artists of the time. A fierce self-critic he seldom was happy with the results of his recordings. His criticism often embraced conductors, producers and sound engineers.

These recordings capture him a wide range of concertos from Bach to Britten, via his beloved Haydn, Mozart, Beethoven (though he only recorded his concertos 1&3 and the Triple Concerto) and Brahms.

Many of the recordings date from prior to the commercial releases. The Dvorak here is from 1966 and conducted by Kondrashin. The famous EMI LP with Kleiber appeared in the 1970s -- Richter claimed that neither he nor Kleiber were in the best form. In the case of the Britten concerto with the composer conducting, the recording here is from 3 years earlier than the famous Decca LP. Richter was unhappy with this as Britten was apparently ill and 'a shadow of himself'. The Brahms 2 and the Schumann are from private tapes owned by conductor George Georgescu who is at the helm in both concertos. A good example of Richter's self - criticism can be found in his comment on his later RCA Chicago Symphony /Leinsdorf recording 'one of my worst records...I can't bear it'. It won a Grammy!

This set also includes some of the lesser known works Richter championed -- Les Djinns by Franck and the Dvorak Piano Concerto which he played more than 25 times from the 1960s to the 80s. He did more than any pianist to restore this work to the repertoire.

A must for all who appreciate truly great pianism, and the artistry of one of the very great pianists of recent times.

Other information:
- Comprehensive booklet notes including extracts from Sviatoslav Richter; Notebooks and Conversations by Bruno Monsaingeon
- Many of these recordings are currently unavailable, or appearing for the first time

[Dancing Divertimentian]

Thanks, George!

Can't wait for more info, like recording dates and sound.

[George]

Thanks, George!

Can't wait for more info, like recording dates and sound.

Hey Don!

I'd bet the farm that the sound will be mediocre, but the price is sure to be very reasonable.

[Bogey]

Hey Don!

I'd bet the farm that the sound will be mediocre, but the price is sure to be very reasonable.

Ah, no worries.  I am sure they will add some bass and such so it sounds good on any i-pod or car stereo.

Future GMG'rs kickin' some remastered Richter:

http://www.youtube.com/v/N1B-mQlQGFk

[Dancing Divertimentian]

Hey Don!

I'd bet the farm that the sound will be mediocre,

S'up, George. I bet you're right about the sound.

but the price is sure to be very reasonable.

That's true!

[Dancing Divertimentian]

Ah, no worries.  I am sure they will add some bass and such so it sounds good on any i-pod or car stereo.

Future GMG'rs kickin' some remastered Richter:

http://www.youtube.com/v/N1B-mQlQGFk

[George]

Ah, no worries.  I am sure they will add some bass and such so it sounds good on any i-pod or car stereo.

I guess it's time for me to buy a car and/or ipod... NOT!! 

[George]

Who needs eyes when the brains aint workin' 

[Bogey]

Who needs eyes when the brains aint workin' 

[Mandryka]

I'm enjoying trying to understand how he developed so I've been listening side by side to some recordings, viz

Handel Keyboard Suite 5, Budapest 29 April 1963 Hungary box and Château de Marcily-sur-Maulne, 1 July 1979 EMI
Mozart K310 from Prague  1 June 1956 Praga  and London 29 March 1989 Philips
Bach English Suite No. Moscow 3 19 Dec 1948 Melodyia  and Tours, June 1991 Stradivarius

The interesting thing for me is the change -- in all three cases I'm feel the earlier recording is more exciting. And the later recording is more poised, more reflective and above all more intense. I'm going continue the investigation, and bring Haydn into the picture, and Beethoven.

There was a period when he started to have heart trouble and give up playing recitals for a while. I wonder if this change in tone coincides with his return after that illness was brought under control.

This has been something that has been bugging me for ages -- I'm glad I'm making the time to understand it a bit better.

[westknife]

The interesting thing for me is the change -- in all three cases I'm feel the earlier recording is more intense, more exciting. And the later recording is more poised, more reflective and above all more intense.

So wait... which one is more intense?

[Mandryka]

God you're quick. Typo. The later

[zauberharfe]

@Mandryka

I have tons of recordings by the Maestro, and I've always found the comparison of his different recordings intriguing, too! If you spend some more time with his cds, I reckon you'll realize that he sometimes changed his vision of a work a lot even in a few years' time! Incidentally, if it hadn't been clear by now, for me he is primus inter pares, so to speak. 

[bhodges]

Hello, zauberharfe, and welcome to GMG. Lots of Richter fans here!

If you like, please feel free to post something about yourself in the "Introductions" section, here:

http://www.good-music-guide.com/community/index.php/board,2.0.html

In any case, enjoy your time at GMG.

--Bruce

[George]

Lots of Richter fans here!

*raises hand proudly* 


(Hey, Bruce!) 

[bhodges]

Hiya George!

So I realized the other day ( ) I still have a copy of Richter Rediscovered (below) and never got around to listening to all of it.

[asin]B00005OLD9[/asin]

--Bruce

[Scarpia]

Hiya George!

So I realized the other day ( ) I still have a copy of Richter Rediscovered (below) and never got around to listening to all of it.

I just realized I have the Richter Icon set, which I got from amazon.co.uk, new, for 5 pounds, and haven't even looked inside yet.  I can only assume there are CDs in there.   

[asin]B001B1R1HC[/asin]

I see it sells for a reasonable price on amazon.com, maybe a little Richter arbitrage is in order!

[Brian]

These recordings capture him a wide range of concertos from Bach to Britten, via his beloved Haydn, Mozart, Beethoven (though he only recorded his concertos 1&3 and the Triple Concerto) and Brahms.

Many of the recordings date from prior to the commercial releases. The Dvorak here is from 1966 and conducted by Kondrashin. The famous EMI LP with Kleiber appeared in the 1970s -- Richter claimed that neither he nor Kleiber were in the best form. In the case of the Britten concerto with the composer conducting, the recording here is from 3 years earlier than the famous Decca LP. Richter was unhappy with this as Britten was apparently ill and 'a shadow of himself'. The Brahms 2 and the Schumann are from private tapes owned by conductor George Georgescu who is at the helm in both concertos. A good example of Richter's self - criticism can be found in his comment on his later RCA Chicago Symphony /Leinsdorf recording 'one of my worst records...I can't bear it'. It won a Grammy!

This set also includes some of the lesser known works Richter championed -- Les Djinns by Franck and the Dvorak Piano Concerto which he played more than 25 times from the 1960s to the 80s. He did more than any pianist to restore this work to the repertoire.

[Mandryka]

I've never heard the Bach with Nikolayevsky, or the Haydn with  Tsiryuk  -- are they good performances? Is the sound OK?

[zauberharfe]

Thanks for the kind words, dear Brewski! I'll definitely get down to make a proper introduction soon. 

If someone is interested I can post the recording dates and places of the new Brillant boxset; some of them are clearly wrong, some of them are oop or LP reissues and there is some unpublished material, too. I don't have the boxset itself as yet, though 

One has to be careful about Richter: he has the greatest discography out there among pianists, not to mention the even greater amount of unreleased recordings, and many labels (Brilliant  ) put bullshit on the covers, like 'Moscow 1947' when the actual date is 10 years later, ecc...

if these Bach concertos are conducted by Nikolayevski (I hope) then the date is 18/05/1991 and not 19/12/1983.
As to the Haydn, yes, the sound must be quite good. Also video footage exists on dvd from this recording.

[George]

Hiya George!

So I realized the other day ( ) I still have a copy of Richter Rediscovered (below) and never got around to listening to all of it.

No judgment here. I don't even own it yet. 

[Coopmv]

I've never heard the Bach with Nikolayevsky, or the Haydn with  Tsiryuk  -- are they good performances? Is the sound OK?

Bach with Nikolayevsky??  Did you mean Bach with Nikolayeva.

[Dancing Divertimentian]

Hiya George!

So I realized the other day ( ) I still have a copy of Richter Rediscovered (below) and never got around to listening to all of it.

[asin]B00005OLD9[/asin]

--Bruce

Try Prokofiev's sixth sonata, Bruce. Then perhaps the Chopin scherzo (if you haven't listened to them already).

[Mandryka]

Bach with Nikolayevsky??  Did you mean Bach with Nikolayeva.

The box has:

Keyboard Concerto No. 3 in D major, BWV1054
Students' Orchestra of the Moscow State Conservatory, Yuri Nikolayevsky
Keyboard Concerto No. 7 in G minor, BWV1058
Students' Orchestra of the Moscow State Conservatory, Yuri Nikolayevsky

Trovar lists a 1054 and 1058 with Bashmet,  both of which  which I haven't heard.

[ccar]

I've never heard the Bach with Nikolayevsky, or the Haydn with  Tsiryuk  -- are they good performances? Is the sound OK?

The box has:

Keyboard Concerto No. 3 in D major, BWV1054
Students’ Orchestra of the Moscow State Conservatory, Yuri Nikolayevsky
Keyboard Concerto No. 7 in G minor, BWV1058
Students’ Orchestra of the Moscow State Conservatory, Yuri Nikolayevsky

Trovar lists a 1054 and 1058 with Bashmet,  both of which  which I haven't heard.

                                                   

The Bach and the Haydn concertos are both live recordings. Expect some resonance and a close microphone but the sound is still quite good.

For the BWV 1054 and 1058 there are a number of Richter recordings but the Bashmet (Teldec) is the only more easily available. Bashmet and the Padova/Veneto Orchestra seem to have looked for a more "stylishly" informed playing but personally I am not thrilled with their orchestral part. After a magical performance of the BWV 1052 with Sanderling, in this same Brilliant CD, Nikolayevsky and the Student's Moscow Conservatory Orchestra are obviously not in the same league, but the performances are very much alive and Richter's playing is still a pleasure to listen to.

AFAIK the Haydn D major concerto is the only Richter ever played in public performances and his only 2 performances were both recorded (and filmed) in 1983, one at the Moscow Conservatory and the other at the Pushkin Museum. There are some but not so easily available DVD releases and also an excerpt in the Bruno Monsaingeon documentary. You may check in the YouTube http://www.youtube.com/user/truecrypt#p/search/1/VWu_OUk6c1Q but the sound is lousy. Relistening to it now, in better sound, was a real pleasure. I've always been impressed by Richter's Haydn sonata recordings (and even had the opportunity of listening to him live in some). But for me his rendition of the Haydn concerto is quite unique and almost surprising. By the drive, the phrasing, the incredible variety of colors he gets from the piano and by the liberty and wonderful taste of his dynamic effects. There are a number of other goodies inside, but I believe this not easily available Richter's performance of the Haydn D concerto could be, by itself, a strong enough reason to get this bargain CD box.                 

[Mandryka]

Thanks ccar. That's very much appreciated.

I've already ordered a Teldec CD with the Bashmet Bach.

One thing which I think is interesting is how the Bwv 1052 with Sanderling is so different from the same concerto with Talich. The two were recorded within a year of each other I think.

Sanderling must have had very strong views about this concerto. I think you can hear his mark in the performance with Yudina.

I like Richter's Bach a lot.

H.

[Bogey]

What say you on these two, folks?

[George]

Second one is a must have, Bill! The first I don't think I have heard.

[Bogey]

Second one is a must have, Bill! The first I don't think I have heard.

It is a pre-order on 180 gram vinyl....no other pics or info at this time.

[Bogey]

They do have these on XRCD24 CD:





Here are some discussions about other XRCD24 CD's

http://www.audaud.com/audaud/SEP03/xrcds/xrcdsSEP03.html

http://www.stevehoffman.tv/forums/showthread.php?t=233065&highlight=xrcd24

http://www.stevehoffman.tv/forums/showthread.php?t=37649&highlight=xrcd24

[George]

They do have these on XRCD24 CD:

Those both look nice. That Appassionata is a classic performance. I am not sure how much more sound they can really wring out of those tapes though. And I bet they aren't cheap.

[Bogey]

Those both look nice. That Appassionata is a classic performance. I am not sure how much more sound they can really wring out of those tapes though. And I bet they aren't cheap.

30 bones each...cheaper than the vinyl posted.

[George]

30 bones each...cheaper than the vinyl posted.

That's a great price compared to what they are asking for on amazon. On the other hand, I haven't bothered with any audiophile Classical CDs, as I almost always enjoy the sound on the original CDs. Thankfully, Classical music has been spared many of the atrocities (noise reduction is one exception) that pop/rock music has had to endure over the last 20 years.   

[Bogey]

That's a great price compared to what they are asking for on amazon. On the other hand, I haven't bothered with any audiophile Classical CDs, as I almost always enjoy the sound on the original CDs. Thankfully, Classical music has been spared many of the atrocities (noise reduction is one exception) that pop/rock music has had to endure over the last 20 years.

Good info.  And discussing newly pressed vinyl with others, it is no guarantee that it is going to sound great either.  Case by case basis with a few generalities thrown in.  FWIW, I have the above cd on this vinyl (not my copy pictured), so would probably pass:

[Bogey]

Second one is a must have, Bill! The first I don't think I have heard.

Must be a forgery then.   Seriously, anyone heard these?

[George]

Must be a forgery then.   Seriously, anyone heard these?

You got dates for the performances?

[George]

You got dates for the performances?

Nevermind, I bet it's this:

Preludes & Fugues, opus 87 no. 4, 12, 14, 15, 17, 23 (Paris, June/July 1963)

    Philips AL / SAL 3458 (LP) or A 02327 L (LP) or 835 204 AY (LP)
    Philips [ US ] PHM 500-048 (LP) or PHS 900-048 (LP)
    Philips 6527 224 (LP) or 6580 084 (LP) or 6580 095 (LP)
    Philips [ Japan ] 13PC89 (LP)
    Philips 438627 (CD)
______________
     
And no, I don't have it, nor have I heard it.

[George]

Nevermind, I bet it's this:

Preludes & Fugues, opus 87 no. 4, 12, 14, 15, 17, 23 (Paris, June/July 1963)

    Philips AL / SAL 3458 (LP) or A 02327 L (LP) or 835 204 AY (LP)
    Philips [ US ] PHM 500-048 (LP) or PHS 900-048 (LP)
    Philips 6527 224 (LP) or 6580 084 (LP) or 6580 095 (LP)
    Philips [ Japan ] 13PC89 (LP)
    Philips 438627 (CD)
______________
     
And no, I don't have it, nor have I heard it.

Actually, yes, I do have it, as it was reissued in The Master series. I'll throw it on.

[Bogey]

Actually, yes, I do have it, as it was reissued in The Master series. I'll throw it on.

I knew you had 'em.   Thanks, while you take a listen I will settle down to....

[George]

I knew you had 'em.   Thanks, while you take a listen I will settle down to....

I finished awhile ago. Powerful performances. The works themselves vary greatly in mood, so there's a nice variety. I say get it!

[Bogey]

I finished awhile ago. Powerful performances. The works themselves vary greatly in mood, so there's a nice variety. I say get it!

Word.

[George]

Word.

To be clear, I mean grab the Master 2CD set, not the vinyl that will set you back more than twice that.

[Coopmv]

I knew you had 'em.   Thanks, while you take a listen I will settle down to....

George seems to have the same problem with Richter's recordings as I have with my Bach's - too many to keep track of ...     

[George]

George seems to have the same problem with Richter's recordings as I have with my Bach's - too many to keep track of ...     

A wise friend once told me "it's better to have them and not need them than to need them and not have them." He was speaking about something else, but it applies here.

[Coopmv]

I started digging into this set, which arrived two weeks ago from Presto Classical ...

[Bogey]

These only set me back 15 bones.  The second LvB I had, but was an upgrade:

[George]

Nice score, Bill! 

[Bogey]

Nice score, Bill! 

Yup, but they still have that Olympia disc I keep passing up.

[George]

Yup, but they still have that Olympia disc I keep passing up.

How much is it?

[Bogey]

How much is it?

$9

[George]

$9

Grab that puppy. 

[Dancing Divertimentian]

Yup, but they still have that Olympia disc I keep passing up.

Which Olympia disc, Bill?

[Bogey]

Which Olympia disc, Bill?

Here it is:

[Holden]

Here it is:

This is a must have IMO!

[Dancing Divertimentian]

Here it is:

Ah, yes, nice one. Well, luck is on your side, Bill, if you want this recording - it's been reissued by Alto/Musical Concepts for pretty cheap:



[asin]B003CP1SRE[/asin]

[Bogey]

Ah, so a wash.  Just a matter of who did a better pressing I guess.  Thanks, Don!

[George]

Ah, so a wash.  Just a matter of who did a better pressing I guess.  Thanks, Don!

And the Olympia is a shade better than the Regis, haven't heard the Alto.

[Papy Oli]

heeeey i have that Regis version !!!!  *chuffed* 

... that's the only Richter CD I have but I recommend it too 

[George]

heeeey i have that Regis version !!!!  *chuffed* 

... that's the only Richter CD I have but I recommend it too 

Don't bother, Bogey doesn't listen to us... 

[Papy Oli]

Hindsight is a beautiful thing but this album deserves to be bought for "Op39. No2 in A minor / Lento assai " alone  0:)

oh... and for "Preludes Op23. No5 in G minor / Alla marcia " too 

and the rest ain't too shabby either... 

[Bogey]

Don't bother, Bogey doesn't listen to us... 

The vinyl calls me....rules me....

Now playing, and immensely enjoying:



Rach
Concerto for Piano no. 1 in f sharp minor, opus 1, revised version of 1917
Sanderling, USSR Radio & TV Large Symphony (Moscow, 18 Feb 1955)

Saint-Saëns
Concerto for Piano no. 5 in F, opus 103
Kondrashin, Moscow Youth Orchestra (Moscow, 1950 or 1952)

[George]

...Walk like an Egyptian... 

[Bogey]

...Walk like an Egyptian... 

Don't you mean "Rach" like an Eqyptian....

[George]

I compared Richter's 1964 Aldeburgh performance in a different transfer recently, this time the Music and Arts. The sound on the aforementioned Living Stage 2 CD set was better, more open and less noise reduced.

[George]

Found these two rare gems today in the used bins:



Both have material that is (I think) unavailable anywhere else.

[Brahmsian]

Found these two rare gems today in the used bins:



Both have material that is (I think) unavailable anywhere else.

  George, I love it.  43 pages and counting with at least a post per page.  That's probably like me in the Taneyev thread. 

[George]

  George, I love it.  43 pages and counting with at least a post per page.  That's probably like me in the Taneyev thread. 

I tell ya, if Richter wasn't this good, I would have stopped by now. The Liszt on the CD pictured above is absolutely stunning!

[Brahmsian]

I tell ya, if Richter wasn't this good, I would have stopped by now. The Liszt on the CD pictured above is absolutely stunning!

How is the Franck piano quintet?  That is one flat out fantastic chamber work!

[George]

How is the Franck piano quintet?  That is one flat out fantastic chamber work!

Haven't heard it yet. I'll yet you know. Skipped ahead to the Liszt, since it's getting late.

[George]

Disc: 1    
1. Rondo for piano in G major, Op. 51/2    
2. Rondo for piano in G major, Op. 51/2    
3. Variations (15) and fugue on a theme from 'Prometheus' for piano in E flat major ('Eroica Variations'), Op. 35    
4. Piano Sonata No. 12 in A flat major ('Funeral March'), Op. 26    
5. Bagatelle for piano in F major, Op. 33/3    
6. Piano Sonata No. 25 in G major ('Cuckoo'), Op. 79    

Disc: 2    
1. Variations (33) on a waltz by Diabelli, for piano in C major ('Diabelli Variations'), Op. 120
_____________________________________

How did we miss this release?

From an amazon review:

The Moscow live recordings from 1950 & 1951 included on this 2CD issue are mono, but surprisingly good quality (far better than some of Richter's stereo recordings) and very little noise from audiences. The performances are; well, it's really pointless to describe them in words, suffice to mention that this particular performance of Diabelli Variations is as gripping as the live recordings in Venice (1970) and Prague (1986).

Anyone hear this yet?

[Dancing Divertimentian]

Found these two rare gems today in the used bins:

Get ready for some weird sound on this one. Probably the driest, most parched sound on a recording I've ever heard. I mean, I've never heard a recording with absolutely ZERO decay! 

[George]

Get ready for some weird sound on this one. Probably the driest, most parched sound on a recording I've ever heard. I mean, I've never heard a recording with absolutely ZERO decay! 

Thanks for the warning. How about the performance?

[zauberharfe]

Disc: 1    
1. Rondo for piano in G major, Op. 51/2    
2. Rondo for piano in G major, Op. 51/2    
3. Variations (15) and fugue on a theme from 'Prometheus' for piano in E flat major ('Eroica Variations'), Op. 35    
4. Piano Sonata No. 12 in A flat major ('Funeral March'), Op. 26    
5. Bagatelle for piano in F major, Op. 33/3    
6. Piano Sonata No. 25 in G major ('Cuckoo'), Op. 79    

Disc: 2    
1. Variations (33) on a waltz by Diabelli, for piano in C major ('Diabelli Variations'), Op. 120
[...]

Anyone hear this yet?

Yes, it's absolutely worth having... the sound is better than on the previous Parnassus releases, it wasn't 'overdone' as with the preceding volumes. I have the original source from which the remaster was made and I can upload some parts of it, if you wish.

As to the playing: a class of its own, I think.

[George]

Yes, it's absolutely worth having... the sound is better than on the previous Parnassus releases, it wasn't 'overdone' as with the preceding volumes. I have the original source from which the remaster was made and I can upload some parts of it, if you wish.

As to the playing: a class of its own, I think.

Thanks very much! Great news about the sound, perhaps my public complaints to Leslie were heard.

And yes to the samples, please.

[Dancing Divertimentian]

How about the performance?

I wish I could say. The sound is so bizarre it isn't easy for me to get into the performance.

But you might have better luck than me.

[George]

I wish I could say. The sound is so bizarre it isn't easy for me to get into the performance.

But you might have better luck than me.

OK.

[Holden]

Disc: 1    
1. Rondo for piano in G major, Op. 51/2    
2. Rondo for piano in G major, Op. 51/2    
3. Variations (15) and fugue on a theme from 'Prometheus' for piano in E flat major ('Eroica Variations'), Op. 35    
4. Piano Sonata No. 12 in A flat major ('Funeral March'), Op. 26    
5. Bagatelle for piano in F major, Op. 33/3    
6. Piano Sonata No. 25 in G major ('Cuckoo'), Op. 79    

Disc: 2 [/b]   
1. Variations (33) on a waltz by Diabelli, for piano in C major ('Diabelli Variations'), Op. 120
_____________________________________

How did we miss this release?

From an amazon review:

Anyone hear this yet?

George - I think that there is a typo here (see the figure in red). I can not find any mention of any SR recording of Op 79 and that includes the Monsaigneon biography. Is this a mistake do you think? If not (but I doubt it) then we can add one more LvB PS to Richter's list.

[George]

George - I think that there is a typo here (see the figure in red). I can not find any mention of any SR recording of Op 79 and that includes the Monsaigneon biography. Is this a mistake do you think? If not (but I doubt it) then we can add one more LvB PS to Richter's list.

I checked some other sites and they all list Op. 79:

CD Universe - http://www.cduniverse.com/productinfo.asp?pid=8486395
Archiv - http://www.arkivmusic.com/classical/album.jsp?album_id=564945
MDT - http://www.mdt.co.uk/MDTSite/product/NR_April11/PACD96046-7.htm

[George]

I checked some other sites and they all list Op. 79:

CD Universe - http://www.cduniverse.com/productinfo.asp?pid=8486395
Archiv - http://www.arkivmusic.com/classical/album.jsp?album_id=564945
MDT - http://www.mdt.co.uk/MDTSite/product/NR_April11/PACD96046-7.htm

And I just ordered it, so we'll know soon enough for sure. Interestingly, Parnassus doesn't even have it on their site yet.

[Dancing Divertimentian]

Oooooo....the best Prokofiev 8th sonata on the planet is up for auction on eBay:


Rare Russian Revelation.

[George]

Oooooo....the best Prokofiev 8th sonata on the planet is up for auction on eBay:

Rare Russian Revelation.

Cool, I got that one already. 

[Dancing Divertimentian]

Cool, I got that one already. 

It sure isn't easy to find for a reasonable price anymore. Hopefully some lucky soul can snatch it for cheap. Unless bidding gets crazy...

[George]

It sure isn't easy to find for a reasonable price anymore. Hopefully some lucky soul can snatch it for cheap. Unless bidding gets crazy...

I'd appreciate it if you could list your favorite Richter Prokofiev performances for each of the sonatas that he performed.

[Dancing Divertimentian]

I'd appreciate it if you could list your favorite Richter Prokofiev performances for each of the sonatas that he performed.

Oh, anytime, Bro!

2nd: Either the '50 Moscow on Ankh or the '65 Prague on Praga. Praga has a noisy audience though is slightly better
        recorded. But the Ankh is probably more daring.     

4th: I like the '66 Aldeburgh on BBC Legends over the '89 London on Decca (Philips).

6th: Hands down the '60 Carnegie Hall on RCA. None others come close: not the '66 Moscow, '65 Prague, or '64 Leningrad.

7th: The '58 Moscow on Melodiya (or Philips GPOTC) over the '70 Moscow on Revelation.

8th: Easily the above mentioned '61 Moscow on Revelation. The '73 Tours is also up there. Both are better than the studio DG.

9th: Prefer the '81 Tokyo on Memoria over the '56 Prague.


There is an interesting recent Melodiya release with the 2nd and 9th but I haven't heard it.

[George]

Wow, I don't have any of these favorites:

2nd: Either the '50 Moscow on Ankh     

4th: I like the '66 Aldeburgh on BBC Legends

6th: Hands down the '60 Carnegie Hall on RCA.

9th: Prefer the '81 Tokyo on Memoria

[Dancing Divertimentian]

Wow, I don't have any of these favorites:

I was sampling the two 9ths I have before I posted and I really like how he draws out the melancholy in the work in Tokyo '81. Achingly beautiful...

 

[George]

I was sampling the two 9ths I have before I posted and I really like how he draws out the melancholy in the work in Tokyo '81. Achingly beautiful...

That CD is rare, too. Over $50 at amazon. 

[Dancing Divertimentian]

That CD is rare, too. Over $50 at amazon. 

I wonder why so much of this stuff never gets reissued....? Crazy...

[Holden]

And I just ordered it, so we'll know soon enough for sure. Interestingly, Parnassus doesn't even have it on their site yet.

Hello George - I may have cleared up the issue. This is from the MDT review of the Parnassus recording

and the Sonata No. 27, in E Minor, Op. 79

The e minor, as you know, is actually Op 90 and SR has made a number of recordings of it. Looks like a Parnassus typo.

Lets me know what you hear when you get this CD.

[George]

Hello George - I may have cleared up the issue. This is from the MDT review of the Parnassus recording

and the Sonata No. 27, in E Minor, Op. 79

The e minor, as you know, is actually Op 90 and SR has made a number of recordings of it. Looks like a Parnassus typo.

Lets me know what you hear when you get this CD.

Sure!

But it looks like you are right: http://www.amazon.com/Richter-1950s-Beethoven-Diabelli-7/dp/B004UBB3VU/ref=sr_1_1?ie=UTF8&qid=1311984995&sr=8-1

Check the sample there and it surely is Op. 90. At least now we have an early version of this work by him, previously the earliest one was 1965.

[Coopmv]

Sure!

But it looks like you are right: http://www.amazon.com/Richter-1950s-Beethoven-Diabelli-7/dp/B004UBB3VU/ref=sr_1_1?ie=UTF8&qid=1311984995&sr=8-1

Check the sample there and it surely is Op. 90. At least now we have an early version of this work by him, previously the earliest one was 1965.

How is this label?  Is it legit?

[George]

How is this label?  Is it legit?

Yes, it is. It's OK.

[George]

Hello George - I may have cleared up the issue. This is from the MDT review of the Parnassus recording

and the Sonata No. 27, in E Minor, Op. 79

The e minor, as you know, is actually Op 90 and SR has made a number of recordings of it. Looks like a Parnassus typo.

Lets me know what you hear when you get this CD.

It arrived yesterday and yes, it is the Op. 90. Even the CD artwork has the typo.

[Coopmv]

It arrived yesterday and yes, it is the Op. 90. Even the CD artwork has the typo.

George,  Are you sure the CD was not made by the Chinese pirate?  A good friend of mine who has been buying and selling coins on eBay told me some counterfeit Morgan Dollars coming out of China apparently have misspelled words on them ...   

[George]

This new release just arrived today.

The Brahms Piano Quartet on the CD was released before on Philips, but the (complete!) Op. 119 has never been issued before. In fact, no complete recording of this work appeared in Richter's discography - until now! I can't wait to get home and give it a spin. Copies are available from Ruslania on amazon or on their website.

[Brian]

Hey George, I've just moved back to the USA and the first thing I'm listening to at home again (right now in fact) is Sviatoslav Richter's EMI Schubert A major sonata, D664. Feels like home indeed.

[Dancing Divertimentian]

The Brahms Piano Quartet on the CD was released before on Philips, but the (complete!) Op. 119 has never been issued before. In fact, no complete recording of this work appeared in Richter's discography - until now!

Cool, George! Let us know what you think of the Op.119.

However, the Op.119 pieces do appear in Richter's discography, just not from a single recital. I have them all.

[George]

Cool, George! Let us know what you think of the Op.119.

However, the Op.119 pieces do appear in Richter's discography, just not from a single recital. I have them all.

He's performed all of them?

Do you have one of these?

Klavierstücke, opus 119 no. 1 - 4
    (Milan, 25 March 1965) [ unpublished ]
    [ labelled 13 April 1965, possibly Bergamo 27 March 1965 ]
        EMI Italy 093 2538192 (CD) [ only available to customers of the Italian bank "CAB" ]
    (Duszniki-Zdroj, 10 Aug 1965)
        Rococo 2146 (LP)

[George]

Hey George, I've just moved back to the USA and the first thing I'm listening to at home again (right now in fact) is Sviatoslav Richter's EMI Schubert A major sonata, D664. Feels like home indeed.

[Mandryka]

This new release just arrived today.

The Brahms Piano Quartet on the CD was released before on Philips, but the (complete!) Op. 119 has never been issued before. In fact, no complete recording of this work appeared in Richter's discography - until now! I can't wait to get home and give it a spin. Copies are available from Ruslania on amazon or on their website.

The Op 119 -- when did he play them. I've never heard him in  Op 119/4

[George]

The Op 119 -- when did he play them. I've never heard him in  Op 119/4

Moscow, January 8, 1959.

[Mandryka]

Moscow, January 8, 1959.

Good -- earlier the better!

[Brahmsian]

This was a gift a few years back from Novi.  Lately, I can't stop listening to this recording!

[asin]B000067DNW[/asin]

[George]

Novi's got great taste! That Schumann Fantasy is one of the works that first got me collecting Richter recordings.

[Brahmsian]

Novi's got great taste! That Schumann Fantasy is one of the works that first got me collecting Richter recordings.

Love that piece!!  Probably my favorite Schumann piano piece. 

[George]

Love that piece!!  Probably my favorite Schumann piano piece. 

Mine is Kinderszenen.

[ccar]

This new release just arrived today.

The Brahms Piano Quartet on the CD was released before on Philips, but the (complete!) Op. 119 has never been issued before. In fact, no complete recording of this work appeared in Richter's discography - until now! I can't wait to get home and give it a spin. Copies are available from Ruslania on amazon or on their website.

The Op 119 -- when did he play them. I've never heard him in  Op 119/4

Intermezzi Op.119 No.1, 2 – 1965, Bergamo – EMI; 1965, Kiev TNC; 1992, Kempten - LIVE CLASSICS

Intermezzo Op.119 No.3 – 1963, Leipzig - MUSIC & ARTS; 1965, Bergamo – EMI; 1965, Kiev - TNC

Rhapsody Op.119 No.4 – 1965, Bergamo – EMI; 1965, Kiev - TNC; 1966, Locarno -PHILIPS

[George]

Intermezzi Op.119 No.1, 2 – 1965, Bergamo – EMI; 1965, Kiev TNC; 1992, Kempten - LIVE CLASSICS

Intermezzo Op.119 No.3 – 1963, Leipzig - MUSIC & ARTS; 1965, Bergamo – EMI; 1965, Kiev - TNC

Rhapsody Op.119 No.4 – 1965, Bergamo – EMI; 1965, Kiev - TNC; 1966, Locarno -PHILIPS

Those EMI recordings must be unreleased. I have the complete EMI recordings (the ICON box) and those Brahms recordings are not in there. 

EDIT: well, it was on CD, but only for a select few:

only available to customers of the Italian bank "CAB"

[Dancing Divertimentian]

He's performed all of them?

Do you have one of these?

Klavierstücke, opus 119 no. 1 - 4
    (Milan, 25 March 1965) [ unpublished ]
    [ labelled 13 April 1965, possibly Bergamo 27 March 1965 ]
        EMI Italy 093 2538192 (CD) [ only available to customers of the Italian bank "CAB" ]
    (Duszniki-Zdroj, 10 Aug 1965)
        Rococo 2146 (LP)

I have his Op.119's from Leipzig, Locarno, and Kempten.

[Mandryka]

Here he is playing Tchaikowsky Op 72/5 -- wonderful performance. Quite special.

http://www.youtube.com/v/VXk50yqo4bs

It's not listed in trovar but it's on spotify here

http://open.spotify.com/track/3xXWiEh3tl9ye6fUYlKXHW

and I found a download of it on amazon here

http://www.amazon.co.uk/P-Tchaikovsky-Meditation-Op-72-5/dp/B00276FFZK/ref=sr_1_1?ie=UTF8&qid=1318968398&sr=8-1

I've no idea if they're all  the same performances. Does anyone?

[ccar]

Here he is playing Tchaikowsky Op 72/5 -- wonderful performance. Quite special.

http://www.youtube.com/v/VXk50yqo4bs

It's not listed in trovar but it's on spotify here

http://open.spotify.com/track/3xXWiEh3tl9ye6fUYlKXHW

and I found a download of it on amazon here

http://www.amazon.co.uk/P-Tchaikovsky-Meditation-Op-72-5/dp/B00276FFZK/ref=sr_1_1?ie=UTF8&qid=1318968398&sr=8-1

I've no idea if they're all  the same performances. Does anyone?

In 1983 Richter played the Op.72 no.5 Meditation during a number of recitals. Some were privately recorded but are not commercially available. The one in YouTube is most probably from Munich April 1983, published by Melodiya through various labels – JVC, Olympia, CDK, Regis; there is another recording of the same piece, remarkably similar but from a different recital - Moscow June 1983 - also issued commercially by Melodiya (MEL 1001664).       

[Mandryka]

Does anyone have Richter's recording of Mozart K491, the 24th Piano Concerto, with Muti? If so, could they upload it for me . . . pretty please  .

Ccar, where are you?

[Mandryka]

Outstandingly beautiful Ballade 4 (Chopin) from Milan in 1966. Does anyone have a record of the rest of the concert?


http://www.youtube.com/v/k45IKm9gxaM

[Bogey]

Outstandingly beautiful Ballade 4 (Chopin) from Milan in 1966. Does anyone have a record of the rest of the concert?


http://www.youtube.com/v/k45IKm9gxaM

Cannot find it in his discography.  Is this the Ferrara concert of '66?

[zauberharfe]

No, I'm pretty sure it is a different one... I might have it, I"ll check!

[Holden]

This has to be the best recording of the 4th Ballade that I've ever heard. What makes it for me is the phrasing which is just perfectly exquisite.

When Richter auditioned for Neuhaus he played this piece - "his warhorse".

[Mandryka]

Is this performance of the Kreisler-Rachmaninoff Liebesfreud on record? What do you think? It sounds so modern!

http://www.youtube.com/v/Ma4RQO5lkwQ

[Dancing Divertimentian]

Something new from, of all companies, Praga. Will the old issues resurface? The packaging does say "Richter Edition". Wonder what's coming in the future?



[asin]B007CMTNHA[/asin]

[George]

Something new from, of all companies, Praga. Will the old issues resurface? The packaging does say "Richter Edition". Wonder what's coming in the future?



[asin]B007CMTNHA[/asin]

Hey Don,

All previously released, right?

[not edward]

Praga helpfully provides no recording dates online. One assumes the First concerto is the Moscow 18-Feb-1955 and the Second is the Leningrad 18-Feb-1959. It's a bit harder to track down a likely provenance for the four preludes, but it seems reasonable to assume that they're probably a grab bag from out of copyright commercial recordings.

[George]

Praga helpfully provides no recording dates online. One assumes the First concerto is the Moscow 18-Feb-1955 and the Second is the Leningrad 18-Feb-1959. It's a bit harder to track down a likely provenance for the four preludes, but it seems reasonable to assume that they're probably a grab bag from out of copyright commercial recordings.

This could be simply a reissue of the material on the Russian Revelation CD (RV 10064.) Except that that CD has the two concerto recordings you mention, along with 4 Etudes Tableaux, Op. 33 No. 6 and Op. 39 No. 3,4 and 9.   

I love that this new issue is on SACD, as if those extra bits will improve the sound, given the source material. 

[Dancing Divertimentian]

Hey Don,

All previously released, right?

S'up, George.

Yeah, I think you and Edward have got it, at least for the concertos. Hard to say about those Preludes, though.

[Dancing Divertimentian]

Here's something new from a company I've never heard of, Divox. It's a repackaging of those old Memoria issues containing a host of Prokofiev from Tokyo. The ninth sonata is a wonderful reading.

It's here at ArkivMusic in the States.


Haven't seen it on Amazon US but here it is on Amazon UK (link seems to be defective):



[asin]B006CAXQ80[/asin]

[not edward]

Divox are a Swiss indie label that may be getting better distribution now as they've moved under the Naxos unbrella.

I have a couple of CDs of theirs (Swiss string quartets and Castiglioni oboe music) and they are definitely aiming for a high-quality product. Good to see such a company picking up this sort of material.

[Dancing Divertimentian]

Thanks, Edward. Good to know.

[Mandryka]

According to the concert data in Monsaigngeon's book he played Haydn in the 1960s, 1980s and 1990s. If you listen to how his style developed you hear, I think, much more seriousness in the later performances, at least in the outer movements.  Those later recordings are fantastic, I've really undervalued them in the past. Someone (I think it was Tom Deacon but I'm not sure) once wrote that, after his heart trouble, when you went to a Richter concert, you felt you were faced with a musician determined to reveal every bit of music in the score.

Well that seems spot on for the late Haydn records -- the ones from Mantua on Decca for example. And I much much prefer them to the earlier ones. I like that intensity a lot.

I was prompted to think about this because I was comparing him in the last sonata -- a record from Milan in 1986 (unpublished) and a record from Mantua 20 years later. I've felt the same whenever I've listened to the same sonata from earlier and later recitals.

[Brian]

Now streamable/downloadable outside the USA via Naxos Music Library and ClassicsOnline:



Mark Obert-Thorn remasters the 1958 Sofia recital. I've never heard this recital recording before, though I'm sure George has! The Schubert impromptu D899/4 truly deserves the description "legendary." MO-T has retained a lot of applause between tracks.

[Holden]

I have the Philips 50 version which is the best I have heard sonically. I'd be fascinated to see what MO-T has done with this recording as a member of NML I am going there now!

Edit: The Philips 50 version beats this hands down. The Naxos version sounds like Richter has put the piano in the Green Room and is playing from there. What's more, the Philips version I'm listening to is only in 224 kbps MP3. There is a slight swirl of sound (from the original LP?). MO-T has removed this swirl. I'd be interested in hearing from those of us who have the recording that I've got to see what you think.

[George]

I have the Philips 50 version which is the best I have heard sonically. I'd be fascinated to see what MO-T has done with this recording as a member of NML I am going there now!

Edit: The Philips 50 version beats this hands down. The Naxos version sounds like Richter has put the piano in the Green Room and is playing from there. What's more, the Philips version I'm listening to is only in 224 kbps MP3. There is a slight swirl of sound (from the original LP?). MO-T has removed this swirl. I'd be interested in hearing from those of us who have the recording that I've got to see what you think.

I trust your ears Holden. Since I have the Philips 50 version, I will pass. Thanks for saving me the money.

[kishnevi]

My Mitropoulos Conducts Mahler set landed today.   Instead of liner notes, the 2011 catalogue of West Hill Radio Archives was included.   

These are not distributed directly to the US because of copyright laws, but they're available on AmazonUK and a few other places outside the US.

Included was a recital of Sviatoslav Richter from 1958 in Budapest

http://www.amazon.co.uk/Richter-In-Budapest-February-1958/dp/B001UWOJ90/ref=sr_1_sc_2?s=music&ie=UTF8&qid=1344133321&sr=1-2-spell

And looking for the AmazonUK listing brought up this one as well, not in the catalogue, of Richter's BSO debut

http://www.amazon.co.uk/Sviatoslav-Richters-Richter-Symphony-Orchestra/dp/B005BK59LY/ref=sr_1_sc_1?s=music&ie=UTF8&qid=1344133321&sr=1-1-spell

(A search using the term "Sviatoslav Richter West Hill Radio"  brought them up, if the links don't work)

Don't know if these might interest the resident Richterians, but I'd figure I could at least point them out.

[George]

Thanks for the info, maybe Que or a moderator could merge this post with the Sviatoslav Richter thread? That way folks who already subscribe to that thread will get notification.

[Dancing Divertimentian]

Cool, Jeffrey. Thanks for the mention.

The first disc is notable for a superb performance of Pictures. It's from the same tour that brought us the famed Sofia Pictures, latterly on Philips, but is much much better recorded (creaky piano stool aside). I prefer it to the Sofia performance as the audience isn't as apt to swamp the interpreter.

The Schubert sonata on that disc has had wide circulation on many labels over the years and any Richter Schubert is good Schubert.

The second disc is totally new to Richter's discography, at least outside of private tapes. I've never heard anything about this concert. Wonder what the sound is like?

[not edward]

I can second the recommendation for this disc. Excellent performances of two Richter specialities. Haven't heard anything about the other one, though.

[ccar]

The second disc is totally new to Richter's discography, at least outside of private tapes. I've never heard anything about this concert. Wonder what the sound is like?

                         


                  "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.   
 
                                       
                                             

The DOREMI already issued these wonderful (and truly "historic") performances in 2010. The sound in the WHRA edition is more clear and the balance between the piano and the orchestra is much better. But, curiously, I got the impression these editions were taken from different microphones. The DOREMi seems as if it was taken from inside the stage, with more distortion but with an amazing immediacy and presence. 

[George]

The DOREMI already issued these wonderful (and truly "historic") performances in 2010. The sound in the WHRA edition is more clear and the balance between the piano and the orchestra is much better. But, curiously, I got the impression these editions were taken from different microphones. The DOREMi seems as if it was taken from inside the stage, with more distortion but with an amazing immediacy and presence.

The Doremi CDs I have heard all sound like audience recordings. Ones made by people in the audience with a tape recorder. As a result, they never seem to sound good.

[ccar]

The Doremi CDs I have heard all sound like audience recordings. Ones made by people in the audience with a tape recorder. As a result, they never seem to sound good.

Maybe by someone in the front row ?   

[George]

Maybe by someone in the front row ?   

Perhaps. 

[Mandryka]

That's a very amusing review of the Richter/Munch studio record Carlos. I'm quite tempted to hear the live one.

Op15 has been very much at the front of my mind recently. It's now my preferred Beethoven concerto I think.

I'm curious about what people think of Richter/Eschenbach, recorded nearly 30 years after the one with Munch.

The performance is so challenging, especially in the allegro, that's it's easy to have a knee jerk reaction and say it's just not very good. An off day with an unsympathetic conductor.  That was my initial reaction, as George can testify.

But I don't think things are so simple. First, Richter himself was proud of the performance (p327 of the Notebooks.) Second, the largo shows he is far from having an off day -- IMO his performance there is more impressive than with Munch. Same for the astonishing first movement cadenza. True the third movement is slower than we normally hear - but historically informed performances sometimes play it even slower (Schnooderwoerd), so maybe Richter and Eschenbach were on to something there.

It's the Allegro which is the problem. When you see allegro con brio you expect more vigour . But repeated listening is convincing me that there are ideas in that performance, they've thought it through. They've made it into something extremely dark and serious, which is maybe not what we're used to in this concerto. But there are some strikingly serious and deep things in the music, both in the orchestral intro and in the piano part later on. So maybe that way of playing it is not without some basis.

I don't know, and I wonder what other people think. I will say it's a performance I find fascinating, difficult and in a way, more interesting than the ones with Munch and Ancerl and Kondrashin from the 1960s.

I would say similar things about the Mozart concerto 18 with Barshai, by the way. And the Mozrt 24 with Muti.

[Dancing Divertimentian]

The DOREMI already issued these wonderful (and truly "historic") performances in 2010. The sound in the WHRA edition is more clear and the balance between the piano and the orchestra is much better. But, curiously, I got the impression these editions were taken from different microphones. The DOREMi seems as if it was taken from inside the stage, with more distortion but with an amazing immediacy and presence.

Ah, so a recent addition, then. Thanks.

[Dancing Divertimentian]

Interesting goodies coming down the pipe:


Beethoven from Brilliant

Beethoven from Praga

And:


[asin]B008K1PWLS[/asin]

[George]

Interesting goodies coming down the pipe:


Beethoven from Brilliant

Beethoven from Praga

And:


[asin]B008K1PWLS[/asin]

The Praga was already released, right?

And is that Scriabin CD the same as the Music and Arts one?

[Dancing Divertimentian]

The Praga was already released, right?

And is that Scriabin CD the same as the Music and Arts one?

Yes to both.

I wonder what improvements in sound are in store for the Scriabin and the Praga?

[George]

Yes to both.

I wonder what improvements in sound are in store for the Scriabin and the Praga?

I recall the Scriabin sounding fine.

The Brilliant is probably a recycling of the Beethoven in the old Green box. They did that with the 3CD Sofronitsky set.

[Dancing Divertimentian]

I recall the Scriabin sounding fine.

Yeah, but the Music & Arts issue sounded a bit dim to me, though clean and undistorted. The Arkadia issue was an improvement and I've been happy with it for years. But I'm wondering if Parnassus has done anything dramatic with the sound, along the lines of the Leipzig recital. If so, I'm tempted to plunk down the extra $$ for it...but I don't know...

[Coopmv]

The Doremi CDs I have heard all sound like audience recordings. Ones made by people in the audience with a tape recorder. As a result, they never seem to sound good.

Really, I am interested in a Lili Kraus recording released by Doremi ...

[Kontrapunctus]

Not great sound, but what awesome playing! (Beethoven's last three Sonatas plus late Brahms and a Chopin Nocturne as encores.)

[Mandryka]

I've just ordered this. Have I ordered a pig in a poke?



Russian Performing School, Vol. 18 - Sviatoslav Richter Plays Piano Concertos by Bach, Mozart and Haydn. From the State Radio and TV Archives. [1-3] Bach: Concerto for Keyboard, Two Flutes and Strings No. 6, BWV 1057. Performers: Sviatoslav Richter & Chamber Orchestra of Moscow Conservatoire / Yuri Nikolaevski. Recorded: 1979. [4-6] Mozart: Concerto for Piano and Orchestra No. 18, KV 456. Performers: Sviatoslav Richter & Moscow Philharmonic Orchestra / Kirill Kondrashin. Recorded: 1977. [7-9] Haydn: Concerto for Keyboard and Orchestra , Hob. XVII:11. Performers: Sviatoslav Richter & Minsk Chamber Orchestra / Yuri Tsiryuk. Recorded: 1993

I'm especially interested in how the Mozart is different from the one with Barshai. And I'm exploring Haydn piano concertos a bit so I couldn't resist.

[ccar]

I've just ordered this. Have I ordered a pig in a poke?



I'm especially interested in how the Mozart is different from the one with Barshai. And I'm exploring Haydn piano concertos a bit so I couldn't resist.

For the Bach BWV 1057 this is (AFAIK) Richter's only commercially available version. The orchestra is too heavily balanced - but the piano playing is light, crisp and with an amazing drive. 

The Haydn concerto Hob XVII:11 with Tsiryuk has been available but difficult to get. I´ve always loved it - it's a magic performance.   

In the Mozart 18th concerto, with Kondrashin, Richter is much more livelier than with Barchai. For me, in most of his earlier concerti recordings (1940's to 60's) Richter is perhaps less reflexive but I feel he explores a wider array of dynamic and phrasing details. And there is a sense of youthfulness and sheer intensity I miss in his later (rare) recordings of piano and orchestra concerti. 

[Mandryka]

Thanks ccar. I hope it arrives!

[Bogey]

Thoughts on this performance?

[George]

Thoughts on this performance?

Richter has said that he prefers this recording to the Leinsdorf one he made of the same work that the critics love. I compared the two recently, but I can't for the life of me recall what my findings were. I can do it again this weekend and let you know.

[Holden]

Is this the same recording?

[George]

Is this the same recording?

Yep, that's the one I have.

[Bogey]

Thanks, buddy!  Hope all is well. 

This pressing is new one on 180 gm vinyl.  $34 I believe. This label has been outstanding with its sound so far, so considering it.

[Coopmv]

Not great sound, but what awesome playing! (Beethoven's last three Sonatas plus late Brahms and a Chopin Nocturne as encores.)

I bought this CD some 2 months ago, the SQ is not bad IMO ...

[Coopmv]

Thanks, buddy!  Hope all is well. 

This pressing is new one on 180 gm vinyl.  $34 I believe. This label has been outstanding with its sound so far, so considering it.

Bill,  I did not know you are the Mr. Vinyl.  I have not played a single one of my 4000+ LP collection in over a year ...

[Bogey]

Bill,  I did not know you are the Mr. Vinyl.  I have not played a single one of my 4000+ LP collection in over a year ...

If you are having storage issues, Stuart I heard that Colorado has a dry (but not overly) climate that is perfect for storing your lps.

[Coopmv]

If you are having storage issues, Stuart I heard that Colorado has a dry (but not overly) climate that is perfect for storing your lps.

My sister and her hubby are now in the mountains of Telluride, which I have never visited.  They have some 50 acres out there.  I heard from them that CO has been unusually dry the last few years.

No, I can still manage my space since I stopped buying LP's in 89 or 90.  My CD collection finally surpassed my LP collection early last year.  I think my big CD buying days will be soon over ...

[Brian]

George, I posted this in Recordings You Are Considering, too:



This is Prok 1, Tchaik 1, Bach BWV1052, with Ancerl and Talich in Prague 1954.

I have one Supraphon Richter CD, the Schumann collection (Fantasie, Waldszenen, etc), are there more essentials from that label?

I have two Richter Tchaik 1s: Karajan/DG, and this one:

http://www.youtube.com/v/DB_lKSNwZZM

[George]

George, I posted this in Recordings You Are Considering, too:



This is Prok 1, Tchaik 1, Bach BWV1052, with Ancerl and Talich in Prague 1954.

I have one Supraphon Richter CD, the Schumann collection (Fantasie, Waldszenen, etc), are there more essentials from that label?

Actually that Schumann Supraphon is too noise reduced for my taste, so I haven't bothered to get more.

[Brian]

Actually that Schumann Supraphon is too noise reduced for my taste, so I haven't bothered to get more.

Do you know the performances on that CD from elsewhere maybe? I can't imagine they'd be bad given who's on the stage, but was curious...

[George]

Do you know the performances on that CD from elsewhere maybe? I can't imagine they'd be bad given who's on the stage, but was curious...

Yeah, the Schumann was released on another label, I forget which one.

Th Prokofiev is a great performance, I have it on an earlier Supraphon CD. The Tchaikovsky I don't know. I hope to not hear that work for a long time. 

[ccar]

Do you know the performances on that CD from elsewhere maybe? I can't imagine they'd be bad given who's on the stage, but was curious...

[Dancing Divertimentian]

Do you know the performances on that CD from elsewhere maybe? I can't imagine they'd be bad given who's on the stage, but was curious...

The Schumann was originally a joint Supraphon-DG venture and for some reason it was left to DG to initially release everything, probably for better western distribution (this was the Soviet-bloc era).

For decades the Schumann has been in DG's catalog and currently some of it is available as filler on the Richter Schumann PC disc (but not in totality) whereas it's available in its entirety in the Richter DG box.

Supraphon did eventually release the Schumann on the CD below (also in ccar's post above) in inferior sound than the initial DG CD (I have both). Don't know why the sound wouldn't be on par with DG's but them's the facts.

I haven't heard the latest Supraphon release of the Schumann so can't comment on that one.

[Brian]

Okay, I guess my original post must have been confusing. I already OWN the Schumann, I'm asking for opinions on the Tchaik/Prok/Bach concertos with Talich/Ancerl.

[Dancing Divertimentian]

Okay, I guess my original post must have been confusing. I already OWN the Schumann, I'm asking for opinions on the Tchaik/Prok/Bach concertos with Talich/Ancerl.

Well, as far as the Tchaikovsky, I have it on the disc below (from 2003) and if the sound weren't so problematic for me I'd be much more enthusiastic about the performance. No doubt it's first-rate Richter/Ancerl/Tchaikovsky but the sound is just punchless. The piano sounds 'plinky' in places and the orchestra can at times sound small. Not exactly what this work needs.

Of course, hi-fi stereo was a few years in the future in 1954 so allowances have to be made.

Overall though everything is played professionally and even exquisitely. Just listen hard.

The rest of the disc incidentally is much better recorded (from ten years later) and the impact is greater.   

[George]

Okay, I guess my original post must have been confusing. I already OWN the Schumann, I'm asking for opinions on the Tchaik/Prok/Bach concertos with Talich/Ancerl.

As it turns out, I own the remastered Tchaik/Prok/Bach CD and the original Tchaik/Prok CD on Supraphon (pictured below.) It's scary when you realize that you own a CD that you never remember buying. 

I just compared them side by side and I can say that the remaster clearly has been noise reduced, dulling an already dull sounding recording. To me, this already takes it out of the running. I had forgotten that I had this CD because I only bought it to have the Bach. Because I don't like the sound, I don't think I've ever played the CD.

Since the older one: is available on amazon new for $12.50, I'd say that's the way to go. The Bach isn't on there, but the sound is better. 

[Dancing Divertimentian]

Since the older one: is available on amazon new for $12.50, I'd say that's the way to go. The Bach isn't on there, but the sound is better. 

Are my eyes deceiving me or does that cover actually say "Digital Recording"? LOL...

[Brian]

Thank you very much, George! The Bach didn't interest me - I'm actually looking at it for the Prokofiev. Of course if there's a clearly superior Richter Prok 1 you can point me in its direction.

[George]

Are my eyes deceiving me or does that cover actually say "Digital Recording"? LOL...

On the back, it says AAD, which is probably correct.

[George]

Thank you very much, George! The Bach didn't interest me - I'm actually looking at it for the Prokofiev. Of course if there's a clearly superior Richter Prok 1 you can point me in its direction.

As far as I know, that Ancerl one is "the" one to get. I recall asking about this somewhere and I was led to the Ancerl. There is one other one, with Kondrashin on Melodiya. An Amazon review reports that the Ancerl "has better sound and a superior orchestra." If there's any truth to that, the Kondashin must sound pretty poor indeed.

And wew copies of the Kondrashin are only $115 - http://www.amazon.com/Richter-Edition-Vol-Prokofiev-Rimsky-Korsakov/dp/B000001HCW/ref=cm_cr_pr_product_top 

I'd say go with the Ancerl. Original mastering.

[Dancing Divertimentian]

On the back, it says AAD, which is probably correct.

Ahh...

[KeithW]

Acclamatory review of an ICA release of a BBC recording of a 1975 Richter Beethoven recital in this week's Guardian

http://www.guardian.co.uk/music/2012/nov/07/sviatoslav-richter-beethoven-piano-review1

[George]

They have finally released the incredible documentary "Enigma" about Richter in region 0 format (plays everywhere.) The only issue of this material I could find years ago was a DVD that wasn't right for my region. Better still, the price is dirt cheap and the transfer is better than the previous DVD, which had always seems washed out and dingy to me. Grab this one while you can! Amazon has it for under $20!

[ccar]

As far as I know, that Ancerl one is "the" one to get. I recall asking about this somewhere and I was led to the Ancerl. There is one other one, with Kondrashin on Melodiya. An Amazon review reports that the Ancerl "has better sound and a superior orchestra." If there's any truth to that, the Kondashin must sound pretty poor indeed.

The sound quality of the Richter-Kondrashin (Melodyia/BMG) is not that bad for a 1952 recording. And personally I love the performance - both the piano and the orchestra. It is true that Ancerl and the Czechs have a fuller orchestral sound. But I really don't know if this concerto asks for it.  For me, the magic of the score, particularly in the slow "movement", is more transparent and characterful with Kondrashin.

         
                         
                                          http://www.youtube.com/v/Ljc7qvqeO1g



 

[Holden]

Acclamatory review of an ICA release of a BBC recording of a 1975 Richter Beethoven recital in this week's Guardian

http://www.guardian.co.uk/music/2012/nov/07/sviatoslav-richter-beethoven-piano-review1

Hasn't this already been released as....



I agree that the recording of the Hammerklavier is Richter's finest!

[ccar]

Hasn't this already been released as....

The BBC Legends comes from the 11th June 1975 Aldenburgh recital.

The ICA Classics is the 18th June 1975 Royal Festival Hall recital.

[KeithW]

The BBC Legends comes from the 11th June 1975 Aldenburgh recital.

The ICA Classics is the 18th June 1975 Royal Festival Hall recital.

I have the BBC Legends disc already, and the ICA is on order - due to arrive this week.  I'll post timings and impressions soon.  But as noted by ccar, they are different performances.

[Holden]

Thanks for clarifying that. I really like the BBC Legends recording and maybe this is even better. If so it's a must have.

[George]

The BBC Legends comes from the 11th June 1975 Aldenburgh recital.

The ICA Classics is the 18th June 1975 Royal Festival Hall recital.

The Praga one is from June 2, 1975. Are these three really all that different?

[Holden]

I remember preferring the BBC Legends Hammerklavier over the Prague recording.

[Kontrapunctus]

I just ordered this remastered SACD set:

[Holden]

I have the BBC Legends disc already, and the ICA is on order - due to arrive this week.  I'll post timings and impressions soon.  But as noted by ccar, they are different performances.

This is on Spotify - listening to it now.

[admiralackbar]

Ok, so I have to ask. Does #1 have the same Appassionata recording as #2?

#1


#2

[Dancing Divertimentian]

Ok, so I have to ask. Does #1 have the same Appassionata recording as #2?

Yes. #2 is the initial CD release. #1 is a later two-fer repackaging.

[Kontrapunctus]

I just ordered this remastered SACD set:

It arrived yesterday--wow! It's hard to believe that the recording is so old. It sounds much warmer than the old RCA versions and is virtually hiss-free. Richter's playing is, of course, sublime.

EDIT: It's not sublime enough and I'm not enough of a hardcore Richter fan to keep it. If anyone is interested in it, then please PM me.

[admiralackbar]

Yes. #2 is the initial CD release. #1 is a later two-fer repackaging.

Thanks!

[Dancing Divertimentian]

New release containing the Schumann PC live from 1972. Lineup looks pretty good.



[asin]B008GKZLB4[/asin]

[Coopmv]

I just ordered this remastered SACD set:

I have the Richter's set on RCA Gold Seal.  While there is no doubt S. Richter was one of the greatest pianists of the 20th century, his WTC is not quite my personal favorite ...

[Brian]

I just received this for review from MusicWeb.



According to Presto,
Recorded September 24 1972 [D960], June 10 1956, June 10-11 1962. Previously available as PR254032 [1994], CDM78726/7 [1993]

The booklet does not specify which of the two years (56/62) corresponds to which piece of music, and also does not say where the recordings were made. The essay does say, very vaguely, that he often played live in Prague, without confirming that he did so in this case.

EDIT: And if any of our Richter lovers are also Michelangeli lovers, I'm in a similar pickle with a poorly-documented Praga CD containing a Ravel Gaspard recorded "live May 22, 1960, broadcasted September 15, 1960," wherever Michelangeli was in May 1960.

[George]

I just received this for review from MusicWeb.



According to Presto,
Recorded September 24 1972 [D960], June 10 1956, June 10-11 1962. Previously available as PR254032 [1994], CDM78726/7 [1993]

The booklet does not specify which of the two years (56/62) corresponds to which piece of music, and also does not say where the recordings were made. The essay does say, very vaguely, that he often played live in Prague, without confirming that he did so in this case.

You'll find what you need here, Brian: http://www.trovar.com/str/discs/schubert.html

[Coopmv]

Still waiting to unwrap the following set ...

[Obradovic]

Does anyone know why the inexhaustible and indefatigable Svyatoslav Richter NEVER EVER attempted performing such works-pillars of the piano repertoire as Schumann's Kreisleriana, Carnaval and Davidsbündlertänze, Beethoven's 4th and Emperor Concerto, Brahms' 3rd Sonata and 1st Concerto among others? I'm sure, further to the above mentioned there are other major works he never attempted (Chopin's 2nd and 3rd Sonatas?). Puzzlingly, he was very fond of Kreisleriana (entry in his diary extolls a Neuhaus, his teacher, performance and the work itself). On the other hand I say nothing about the only Beethoven Sonata he never played, the Waldstein, because as it is well known he plainly hated it! But does anyone know what he was thinking about other major works he never played (in public at least) and recorded and why kept a distance from them? Thanks a lot!

[Holden]

The general consensus is that if Richter thought that someone had made a recording that was better than he could make of a particular work then he never recorded it. There are also some pieces that were in his early repertoire that he dropped for probably the same reason. On his Beethoven, I've never read anywhere that he hated the Waldstein but it could be true. There were other LvB sonatas that he never recorded (or played for that matter). These inlcude:

Op2/2, Op10/1, Op 27, Op 28, Op 31/1, Op 78, Op 79 and Op 81a.

[Obradovic]

The general consensus is that if Richter thought that someone had made a recording that was better than he could make of a particular work then he never recorded it.

It sounds pretty convincing... Regarding the Liszt Sonata which one is the Great Richter Performance? The one I have in a Decca's twofer didn't thoroughly convince me, he was a bit slack IMO. I've heard good thinks about a 1966 live in Livorno. Thanks!

[Mandryka]

I say you should get the 1965 Carnegie Hall (i haven't heard the one on Brilliant)

[Obradovic]

I say you should get the 1965 Carnegie Hall (i haven't heard the one on Brilliant)

Label?

[George]

Label?

It may be on more than one. Check Trovar.com

[Mandryka]

I have it on Palexa.

What's the latest recording of him playing the Liszt sonata? I have one from 1971.

[Obradovic]

I have it on Palexa.

What's the latest recording of him playing the Liszt sonata? I have one from 1971.

Probably this is, I know that Richter played it frequently during the 60s but almost dropped it entirely later on. Unfortunately the twofer I mentioned above is in my parent's home (some 300km from where I'm writing these lines...) so I can't verify dates. And Decca's site doesn't help either: only release date is given (1991). Highly unlikely that this figure is pretty close to the recording year

[Holden]

From Trovar

Sonata in b, S 178

    (Carnegie Hall, New York, 1965 )
        Private Recording P-101 (LP) [ labelled Carnegie Hall, New York, 18 May 1965 ]
        Melodiya M10 47287 (LP, 1986)
        Philips 422137 (CD) [ labelled Budapest, 1960 ]
    (Moscow, 12 October 1965) on Brilliant Classics 92229/3 (CD)
    (Aldeburgh, 21 June 1966)
        Discocorp RR 454 (LP) [ labelled Budapest, 11 Feb 1958 ]
        AS Disc 342 (CD) or 345 (CD) or Historical Performers HP 26 (CD)
        Bianco e Nero BN 2433/2 (CD)
        Classica d'Oro CDO 3007 (CD 2001)
        Legend LGD 145 (CD)
        Music & Arts CD-600 (CD)
        Music & Arts CD-760 (CD) [ labelled Florence, 1971 ]
        Memories HR 4218 (CD)
        Nuova Era 013.6340 (CD)
        Seven Seas / King Records KICC 2267 (CD)
    (Livorno, 21 Nov 1966) on Philips 438620 (CD) or 446200 (CD) or 454545 (CD)

I have this along with the PCs and it sounds pretty darn good to me.

[Mandryka]

But Trovar is not very good here, no mention of the 1971 for example, or the Palexa. The Livorno 1966 is the least interesting of the ones I've heard in fact, though as Holden says, it sounds very good, it's well recorded.

[Dancing Divertimentian]

But Trovar is not very good here, no mention of the 1971 for example, or the Palexa. The Livorno 1966 is the least interesting of the ones I've heard in fact, though as Holden says, it sounds very good, it's well recorded.

Which label is the 1971 performance on? If it's the old Music & Arts release it's since been discovered to actually be the 1965 Aldeburgh performance.

[Mandryka]

Ha, you got there quick. I just came to edit my entry after looking carefully at Trovar.

It's labeled as Florence 1971 and I now see Trovar says that that's a mislabeling.

I found it on a Russian torrent, which shows this cover:

[Dancing Divertimentian]

Ha, you got there quick. I just came to edit my entry after looking carefully at Trovar.

The one I had in mind as 1971 may well be the same as the Livorno. It's labeled as Florence 1971 and I now see Trovar says that that's a mislabeling.  I don't like either in fact, so I rarely play them. I do remember the transfer I have sounds rougher than the Philips, I certainly had noticed that stylistically they're similar, and both different from the BBC or the Palexa.I'll listen to the alleged 1971 and the Livorno carefully tonight if I get time.

I found it on a Russian torrent, which shows this cover:

That cover is the old Music & Arts release I was talking about. I've had it for years. If the file on the torrent is from this disc then it's the 1965 Aldeburgh, not the Livorno.

I've always liked the Aldebergh performance, as well as the New York performance on Palexa, too. I don't remember the Livorno being subpar, but it's been a few years since I last heard it.

[Brian]

Praga's continuing to release more Richter albums, including a couple live recordings he actually apparently authorized for release:

BEETHOVEN: Piano Sonatas
Sonata No. 27 Op.90, No. 28 Op. 101, No. 29 Op. 106 'Hammerklavier'
Svjatoslav Richter
A legendary 'Hammerklavier' from the genius of Richter; who reduced the audience to holding their collective breath, to
avoid missing the last largo evolving into an irresistible allegro risoluto.
Live recordings: June 2 1965 [No. 27]; May 18 1986 [No. 28]; June 1975 [Hammerklavier] reissued from PR254022
authorised by Richter in 1996

SCHUBERT: Piano Sonatas II
No.16 in A minor, Op.42 D845 & No.17 in D, op.53 D850
Svjatoslav Richter
A juxtaposition of the first and second Grande Sonates for pianoforte of 1825, one a melancholic, intimate effusion that
does not  smile;  the other, brimming with frothy joy close to a stylised Tyrolienne, then a refined Ländler whose
emotional invention heralds Bruckner, followed by a moderato as light as it is timeless in its innocent, inalterable gaiety. A
portrait such as only Richter the painter knew how to compose.
June 14, 1956 (D 850), consists of previously released material
by PRAGA PR254 031 (P) 1994, CDM 78726/7 (P) 1993 agreed by Svjatoslav Richter in Paris in 1993

TCHAIKOVSKY: Piano Concerto No. 1 in B flat minor, Op.23
Symphony No. 6 'Pathétique' in B minor, Op.74
Svjatoslav Richter
Leningrad Philharmonic Orchestra
Yevgeny Mravinsky
An unusual pairing of Tchaikovsky's two most popular scores by two uncontested Russian masters: the resurrection of
one Richter's rare encounters with the most Russian conductor of the 20th century, Yevgeny Mravinsky.
An indispensable account from Praga's recorded legacy over the last 20 years.
Recorded Leningrad July 24, 1958

Some pretty terrible writing in those synopses; my favorite bit is that Mravinsky was "the most Russian conductor."

[Mandryka]

I just found buried on my hard drive a recording of Richter in Varese in 1992 playing Brahms op 119 1 to 4. The sound is fine. I think it's very valuable because of the Op 119/4, which AFAIK is not easily available played by SR elsewhere, if available at all. I was given it ages ago by a serious Richter collector who I've lost contact with. I don't think he'd mind me sharing it privately -- PM me if you want it.

I found it buried because I've just been bowled over by Virsaladze's record of it, so I thought I'd go comparing.  I recommend the Virsaladze enthusiastically, as I do Ranki's and maybe Gieseking's too.

[ccar]

I just found buried on my hard drive a recording of Richter in Varese in 1992 playing Brahms op 119 1 to 4. The sound is fine. I think it's very valuable because of the Op 119/4, which AFAIK is not easily available played by SR elsewhere, if available at all.

These are the published Op 119 SR recordings I am aware of:

Op 119 No. 1 to 4 - 1959, Moscow - Olympia; 1965, Bergamo - EMI Italy (not easily available); 1965, Kiev - TNC

Intermezzi Op 119 No.1, 2 – 1992, Kempten - LIVE CLASSICS

Intermezzo Op 119 No.3 – 1963, Leipzig - MUSIC & ARTS

Rhapsody Op 119 No.4 – 1966, Locarno - PHILIPS


If you also look for private/non-published SR recordings (not easily available):

Op 119 No. 1 to 4 - 1965, Milan; 1965, Bergamo; 1965, New York; 1965, Duszniki-Zdroj; 1992, Varese; 1992, Bolzano

Intermezzo Op 119 No.1 - 1992, Cheltenham

Intermezzo Op 119 No.3 - 1992, Cesena
 
Rhapsody Op 119 No.4 - 1992, Cesena; 1992, Birmingham; 1992, London