Sviatoslav Richter

[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.