Richter: Schubert & Liszt Piano Sonatas

On this CD:

1. Piano Sonata No. 19 in C minor, D. 958
Composed by Franz Schubert
Performed by Sviatoslav Teofilovich Richter

2. Sonata, for piano in B minor, S. 178 (LW A179)
Composed by Franz Liszt
Performed by Sviatoslav Teofilovich Richter

3. Ballade for piano No. 4 in F minor, Op. 52, CT 5 (Four Ballades)
Composed by Fryderyk Chopin
Performed by Sviatoslav Teofilovich Richter

Tracks:

Pictures At An Exhibition: Promenade
Pictures At An Exhibition: I Gnomus
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: II II vecchio castello - Promenade
Pictures At An Exhibition: III Tuileries
Pictures At An Exhibition: IV Bydlo
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Ballet des poussins dans leurs coques
Pictures At An Exhibition: VI Samuel Goldenberg und Schmuyle
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: VII Limoges: le marche'
Pictures At An Exhibition: VIII Catacombae: Sepulchrum romanum - Cum mortius in lingua mortua
Pictures At An Exhibition: La Cabe sur des pattes de poule
Pictures At An Exhibition: La Grande Porte de Kiev
Moment Musical in C Major, D780 no.1
Impromptu In E Flat Major, D899 No,2
Impromptu in A Flat Major
Etude In E Major, Op.10 no.3
Valse oubliee No.1 In F Sharp Major
Valse oubliee No.2 In A Flat Major
Etude d'execution transcendante No.5
Etude d'execution transcendante No.11
Prelude In G Sharp Minor, op.32 no.13

Customer Reviews:

The definitive "Pictures at an Exhibition".......2007-04-30

Not much more I can add to this. If you have any interest in the original piano version of "Pictures" at all then this is the one to get. Try Muti's for an excellent version of the piece as orchestrated by Ravel(Along with a great "Rite of Spring"; dirt cheap too)- Mussorgsky: Pictures at an Exhibiton; Stravinsky: The Rite of Spring.

Nobody else understands "Pictures" as well as Richter and in his hands time melts and you are taken on a journey you will not soon forget. Richter pushes and pulls this piece wherever he wants and we the listeners are happy to follow him where he chooses to take us.

The piano sound is quite good for its time. Fairly full and with a good dynamic range. Unfortunately the audience seems to have a case of infectious coughing. Similar to the live Wartime recordings of Furtwangler in that respect. You get used to it though, and either way it doesn't matter in the hands of a performance of this stature.

There's a reason that you can still buy this nearly 50(?!) years after it was recorded. Not only are people still talking about this recital, but we are still waiting for a recording to match it in modern sound without audience interruptions. I suspect we may have to wait a long, long time.

terrible coughs........2006-11-16

there are two recordings that would've perhaps been much more appreciated had there not been several people who coughed their way through the entire concert. the furtwangler 1942 recording of Beethoven's sixth symphony and this one.
jesus. i'm not one to complain about coughing, but we have issues here. was it communism?? really, were russians this worse off???????

things set aside, the performance itself.. is magical.

i can't add much more to previous reviewers except this: expect one of the worst recordings from the 1950's... if you brainwash yourself into believing this is one of those naxos or pearl remastered 1920s recordings, you'll find yourself much more pleased.

The Most Memorialand Quoted Piano Recital from the 1950's .......2005-12-15

Svaitoslav Richter is the quintiessential pianist of the 20th century. This epic live recording of the Mussorsky's "Pictures at an Exhibition" stands as the supreme recording of the piano version ever recorded. Although some will argue that Horowitz recorded of his this piece with is its numerous interpretative changes is also notable but is mearly a flashey more superficial rendition than Richter's. Richter here captures this pieces mistical and heavenly appeal so perfectly it seems its nuances are forever engrained in your mind. The Promenade is so stately and energetically expressed it seemingly gives us permission to enter a heavenly 30 minute musical forum. The variation number 5, 8, 10 and the next to last are my favorites. Being a pianist (and I use that term loosely) this recording has taught me so much with regards to vivid imagery. For example the next to last variation leaves me with the impression that it is someone taking the road to heaven and finally arrives at its gates. Then is looking at the Gates of Heaven as they Open. A grand moment in any life. Richters imagery is so perfectly unbalanced that he leaves us on edge to anticipate each colorful moment. This is truely my favorite recording in classical piano because it is so awe inspiring.

The best interpretation of "Pictures at an Exhibition" I have heard.......2005-11-17

Wow.

If the vivid imagery Richter creates in this live performance isn't enough to bring tears to your eyes, the technical prowess will certainly send you searching for the "repeat" button on your cd player.

Richter, as always, delivers an emotional and monumental performance.

Great but the worst recording i hear.......2005-10-01

fisrt of all excuse me for my bad englih, i m french ;o)
A concert recording can't be perfect, this is the worst i hear. All the people are ill and the record man was probably far as 50m of the piano behind a door.
So, Why three stars ?
because i love this music and nobody play it as Richter this day.
Great music, Great moment...

Sviatoslav Richter Plays Schubert Piano Sonatas D958, D960

Average customer rating:

The passionate serenity!
awe inspiring playing
genius
Richter's best recording. Schubert's best piano works

Sviatoslav Richter Plays Schubert Piano Sonatas D958, D960

Manufacturer: Regis Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000AL9D6
Release Date: 2003-07-09

Customer Reviews:

The passionate serenity!.......2006-12-17

The febrile pulse and the way he phrased every single bar, make we can define the Richter's taste. Nobody like him could approach with such staunch and with that wise [....] around the spirit of the composer. That quality may be appreciated with major intensity since the seventies , when the poetry, the mercurial passion and the lyricism shook hands each one another. His repertoire experienced a notable twist; he left behind the Russian repertoire aside, and his interests overturned specially around Schubert, Schumann, Beethoven. So we have the most distinguished, imaginative and refined Russian pianist swimming in German literature. The effort was compensated by far; the inner tensions, the core of the work nestled beneath the score, the magic atmosphere he produced, captivated two great countries; Japan and U.K.

Introspection and solemnity hovered by a contemplative gaze and profound sentiment. The philosopher pianist, possessed now a major lyrical vein, absolutely free of rhetorical conventionalisms. Possibly Franz Schubert and Robert Schumann were the composers whom Richter expressed with major wise objectivity and sheer poetry. He loved the challenges and knew Kempff had written golden pages around these notable composers. Nevertheless the genius blossomed and permitted a vivid renaissance of pristine lyricism never heard before.
Undeniably, the seventies was the most productive, valuable and extraordinary decade of this prolific pianist. You may realize the wide catalogue and countless concerts, where he was beloved and admired.

So,leaving aside my profound admiration for this great interpreter, I invite you in case you don't to explore unexpected facets of the pianism of this genius of the keyboard, and this volume is specially a concluding evidence about it.

awe inspiring playing.......2006-04-03

I've just got home having heard a rather zealous/charmless live performance of Schubert 9 by Sir John Eliot Gardiner/LSO.
Suddenly,to hear Richter's playing of these Sonatas is to be transported into another world of musical re-creation.Whatever strange things Richter does -slow tempi,violent fortissimos-one is left with an overwhelming sense of rightness,of being taken on a great spiritual journey.
That may sound simple like a simple accomplishment but it's all too rarely achieved!
it ought to be noted that Richter's recording of the 1st movement of D960 beautifully frames that most inspiring of documentaries 'Richter,the Enigma'/bruno monsanigen

genius.......2004-12-11

This is simply a wonderful and stunning disc. Early 1970s recordings belying their age. Richter's playing, especially of D960 is profound, slow and harrowing. I find it impossible to listen to any other interpretation of this sonata having heard Richter play here. The whole work, intense and disturbing as it is, is transported to the highest realms of expressive angst, felicity and desperation by the pianist whom Glenn Gould (no slouch himself) described as "the miracle that is Sviatoslav Richter".

This is no easy listen and you may find, once the final bars have faded, that you are emotionally drained by the whole experience. This is music-making of the highest calibre. I have owned this disc for about a year and, having listened to it at least once weekly since, its sheer force and power have not diminished in the slightest.

Richter's best recording. Schubert's best piano works.......2004-10-16

To make this review short and simple. I owned this album for over a year. I didn't love it. The tempos on the B flat Sonata bothered me....a bit slowere than the norm. One day, I was feeling very low and for some reason, I remembered I hadn't listened to this cd in quite some time. I put on the B-flat sonata, and I realized that the reason, it was hard to like is because it is one of the most painful readings of music I've ever heard. I'm certain the intent of the sonata was to display the beauty within pain. Anyway, if that was its intent, this is beyond a realization of that. As for the other sonata, it's played with perfect Richter grace. The sound quality is excellent and any piano listener with a deep need to be emotionally persuaded by the world's finest Schubert interpreter should buy this CD. It's an experience that will last with you. I wish you luck on your purchase

Average customer rating:

A ***MUST HAVE*** ALBUM for lovers of CHORAL & SACRED MUSIC!
One of the best CDs of my several hundred CDs collection

Ave Maria

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Tracks:

Ave Maria
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Christmas Oratorio, BWV 248: Shepherds' Music
Stabat Mater: Sancta mater istud agas
Ave Maria
Satbat mater Op. 58: Virgo virginum praeclara
Magnificat, BWV 243: Magnificat
Magnificat, BWV 243: Et exsultavit apiritus meus
Ruf zur Maria
Ave Maria
Ave Maria
Christmas Cantata: Sinfonia
Exsultate, Jubilate K. 165 (158a): Tu virginum corona - Alleluja

Customer Reviews:

A ***MUST HAVE*** ALBUM for lovers of CHORAL & SACRED MUSIC!.......2002-04-12

If you have a any appreciation at all for the human voice raised in song, you will absolutely LOVE this album!! I have had this album on cassette since 1990, but until three weeks ago, I'd never listened to the entire cassette. I had only listened to the first song on side A because I was that was the version of "Ave Maria" I was familiar with. THIS
ALBUM is the best compilation of choral music ever!!! It's not just different versions of "Ave Maria"; it is a compilation of songs whose theme is Maria. I particularly like the Giovanni Battista Pergolesi duet, "Stabat mater: Sancta mater istud agas". You would have to be DEAD not to fall madly, deeply and completely in love with this song. All the songs on this album are GEMS!!! I highly recommend this album. I'm buying the CD version myself, as I have been playing my cassette to death. Buy the CD already!!!!

One of the best CDs of my several hundred CDs collection.......1999-10-28

Unusually successful collection! Must have!

Schubert: 'Wanderer' Fantasy; Schumann: Fantasy & Papillons

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Two Fantasies and a Butterfly
Again

Schubert: 'Wanderer' Fantasy; Schumann: Fantasy & Papillons

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Mendelssohn: Sonata for Piano; Prelude & Fugue; Variations Sérieuses; Rondo Capriccioso

ASIN: B00076ONTQ
Release Date: 2005-01-25

Tracks:

I. Allegro Con Fuoco Ma Non Troppo -
II. Adagio -
III. Presto
IV. Allegro
I. Durchaus Fantastisch Und Leidenschaftlich Vorzutragen
II. Massig. Durchaus Energisch
III. Langsam Getragen. Durchweg Leise Zu Halten
Introduzione (Moderato) & No.1
No.2 (Prestissimo)
No.3
No.4 (Presto)
No.5
No.6
No.7 (Semplice)
No.8
No.9 (Prestissimo)
No.10 (Vivo - Piu Lento)
No.11
No.12 (Finale)

Customer Reviews:

Two Fantasies and a Butterfly.......2006-11-01

The Russian pianist Sviatoslav Richter (1915 -- 1997) was revered for his magnificent, highly personal playing of Schubert and Schumann. This CD, appropriately included in EMI's "Great Artists of the Century" series includes three masterpieces for piano solo which Richter made his own: Schubert's 'Wanderer Fantasy" and Schumann's Fantasy in C, opus 17 and Papillons opus 2. With Richter at the height of his powers on three treasured works, this CD is difficult to resist.

Schubert's "Wanderer" Fantasy is on my shortest list of music that I have known over the years that is dear to me. Richter's reading is a deserved classic. Schubert composed the work in 1822, just after laying aside what would become known as his "Unfinished" symphony. It is a grand, stunning composition written in a flamboyant, virtuosic style that Schubert otherwise used only rarely. It is a showpiece, full of bravura; and Schubert himself remarked of it "the devil take it, I can't play it." The work is composed in four movements around a theme that Schubert used in his song "The Wanderer". The second movement consists of a series of variations on the theme of the song. Listen to the final variation and Richter's playing of the long series of runs and filigree high in the register over a cello-like singing of the theme. The work is full of enormous crashing chords, sweeping arpeggios and long runs, together with Schubert's singing themes and a gamut of emotion ranging from the forceful and hopeful to the deeply sad, as in the second movement. Richter offers a reading that is both powerful and showy and also attuned to the many nuances and changes of moods in Schubert's score. The 'Wanderer' has been a source of inspiration to me and to many listeners and composers.

Robert Schumann's was a great admirer of Schubert's 'Wanderer". His own Fantasy opus 17 is also a virtuosic work, probably Schumann's greatest composition for solo piano, but of a different spirit than Schubert's. Schumann's three-movement Fantasy is a wayward, moody and highly passionate work. As was most of Schumann's early piano music, it was composed in the midst of and reflects his stormy courtship of Clara Wieck. It can be heard to capture the difficult passionate courtship in the opening movement, Schumann's determination to see the courtship through in the middle movement, and the consummate expression of love in the finale. The opening muovement alternates between the passionate, arresting opening theme and quieter more reflective material. The movement is difficult to hold together, but Richter does so here. Schumann himself said that the first movement was 'more impassioned than anything I have ever written." The second movement consists of a wayward march with a contrastingly quiet middle section. It closes with a devilishly difficult passage for the soloist with big chords and wide skips. The finale is slow,quiet and pensive, reflective of the feelings of a lover for the beloved. There are two large climaxes in the course of what is a lyrical conclusion to a passionately romantic work. The third movement of the Fantasy includes quotations from Beethoven's song cycle, "To the Distant Beloved" opus 98. Schumann adored this work which is one of Beethoven's most romantic compositions and written on a theme -- a difficult love -- close to Schumann's own.

Papillons, opus 2 is an early example of Schumann as a composer of piano minatures along the line of his more famous "Carnaval" and "Scenes from Childhood." Papillions consists of twelve short pieces, some of them highly virtuosic, which alternate between the dreamy and the lyrical and the passionate and forceful sides of Schumann's personality. There are songlike themes in this work, graceful light dances, syncopated rhythms, and large heavily chorded sections with long movements in octaves. This reading captures a live performance and Richter brings out the intense, yearning, and temperamental character of Schumann's erratic gifts.

Schubert's 'Wanderer' is almost an incomparable work for me. It is here together with two other great works of romantic piano music definitively played.

Robin Friedman

Again.......2006-02-14

Yet another re-packaging of Richter's 'Wanderer'; EMI must really believe in this recording. As well it should, since this is one of the better versions of the Fantasy in the catalog. Lots of folks still think this is the best-ever choice, and while I have some reservations, it is definitely exciting. I'm not at all sure that Schubert would have anticipated quite so much banging around the keyboard, but Richter is certainly no novice with this material. The other pieces are fine, though listeners might want to audition Kempff and Brendel recordings, too (if still available).

Schumann: Papillons; Introduction & Allegro appassionato; Schubert: Piano Sonata in B flat major, D. 960

Average customer rating:

Richter At His Best

Schumann: Papillons; Introduction & Allegro appassionato; Schubert: Piano Sonata in B flat major, D. 960

Manufacturer: BBC Legends
ProductGroup: Music
Binding: Audio CD

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ASIN: B000I2IS7C
Release Date: 2006-10-17

Tracks:

Papillons, Op. 2
Introduction And Allegro Appassionato For Piano And Orchestra, Op. 92
I Molto Moderato
II Andante Sostenuto
III Scherzo. Allegro Vivace - Trio
IV Allegro Ma Non Troppo

Customer Reviews:

Richter At His Best.......2007-01-25

These recordings come from the years 1963 - 1965 when Sviatoslav Richter, as Bryce Morrison said in Gramophone, bestrode the pianistic world like a colossus. The records on this disc support these claims. First, is Robert Schumann's Papillons that is played with great sensitivity and beautiful phrasing. Following this is another work of Schumann the Introduction and Allegro appassionato with Benjamin Britten conducting the English Chamber Orchestra. From the performance one can easily believe that conductor and soloist had a wonderful time; they have a magnificent partnership in this performance. The music of Franz Schubert was very important to Richter and he championed him in the Soviet Union. The B flat Major sonata that is recorded here was his favorite and his loving attention is evident. Here Richter stretches the first movements (clocking in at just over 25 minutes) Molto moderato about as slowly as it can be but he knew this sonata so well his performance remains graceful and beautiful. The monumental first movement is followed by an elegant and reflective Andante, a jubilant Scherzo and a dynamic finale.

The notes by Jeremy Siepmann are outstanding. This certainly is a disc that any admirer of Sviatoslav Richter will want to have.

Dvorak: Piano Concerto; Schubert: 'Wanderer' Fantasy / Richter, Kleiber

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The wrong performers for this concerto
A great finding!
Surprisingly awful!
Lyrical Side to Richter in Dvorak and a fine Schubert too
Schubert 4, Dvorak 1

Dvorak: Piano Concerto; Schubert: 'Wanderer' Fantasy / Richter, Kleiber
Antonin Dvorak , Franz Schubert , Carlos [conductor] Kleiber , Sviatoslav Richter , and Bavarian Radio Orchestra
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000I7VW
Release Date: 1999-03-09

Tracks:

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Piano Concerto In G Minor, Op. 33: 2. Andante sostenuto
Piano Concerto In G Minor, Op. 33: 3. Allegro con fuoco
Fantasy, D.760, Wanderer: Allegro con fuoco ma non troppo
Fantasy, D.760, Wanderer: Adagio
Fantasy, D.760, Wanderer: Presto
Fantasy, D.760, Wanderer: Allegro

Amazon.com

These recordings show diverse aspects of the great pianist's approach. In the concerto, frequently played for its virtuoso effects, Richter emphasizes the gentler, lyrical aspects of the music, although there is plenty of power when it's required. The unusually assertive orchestral support under Kleiber is a strong asset. Richter's Schubert was usually very gentle, but here he seizes on the outgoing aspects of the music and plays more aggressively than usual--although there is no lack of song when it's required. Neither performance is "definitive"; both leave plenty of room for other approaches. But both are so engrossing that, as they play, one can't imagine another interpretation. There was room for more music on this disc, but what's here is choice. --Leslie Gerber

Customer Reviews:

The wrong performers for this concerto.......2007-03-27

Dvorak's piano concerto has had a rough deal from the very beginning - it was immediately dubbed "unpianistic" (more specifically, it provided little opportunity for virtuosic display) and quickly revised by pianist Vilem Kurz. His version was the most performed of this little-played work until the authenticity movement saw renewed interest in the original score, which is played here.

The concerto has, like Dvorak himself, been largely misunderstood. It is usually described as inferior to his violin concerto, although it is melodically much stronger. It is also commonly assumed to be an inferior copy of the Brahms piano concertos, which is slightly odd, as it was written before Brahms's 2nd. Brahms's influence on Dvorak has been much overstated - of his symphonies, only the 7th bears direct comparison, though the 6th also has Brahmsian elements. The rest display his distinctive musical personality and abilities - the reasons, in fact, that Brahms patronised him and brought him to wider attention.

The chief resemblence of Dvorak's concerto to Brahms's 1st is in its scale, inspired by Brahms's revelation that a concerto could be a serious symphonic work of some length, rather than chiefly a display piece for a piano virtuoso. Other than this, one should look further into the past for influences, particularly to the concertos of Schumann and Mendelssohn, but also to Mozart's ground-breaking works in the form.

The error in attributing Dvorak's concerto to the influence of Brahms leads to the ignoring of the prime characteristics of Dvorak's music, which are colourful orchestration, endless melodic invention, and a lyrical sensibility. (The ideal Dvorak conductor is probably also a great Schubertian.) In contrast, Brahms's orchestration is more purposeful and less delightful, his melodies less abundant, and his expression more stoic. Obviously, a musician should bring qualities to Dvorak different to those brought to Brahms.

Here lies the problem with this recording. Both Richter and Kleiber are noted for their forceful interpretations, their directness of expression, and their avoidance of sentimentality. (Magisterial is a word often applied.) In Beethoven these qualities are a boon, but in Dvorak they are a disadvantage to the music. (Brahms probably falls somewhere in between.) Richter and Kleiber's performances are brilliant, but wrong.

Unfortunately, the ultimate result of this famous but misguided recording is a diminishment of Dvorak's reputation. Look elsewhere for a performance that does full justice to this beautiful, misunderstood concerto.

A great finding!.......2004-12-06

I had seen this CD over and over at different music stores, but I was always unsure about buying it. However, after reading some positive reviews about it I decided to give it a try! I've listened it four or five times already (in less than three days) and I must confess that I'm quite happy that I decided to buy it.

The Dvorak piano concerto is quite beautiful; actually more than what I expected it to be! It is filled with lovely melodies (just as a review that I read said!). The second movement in particular is quite enchanting! I'm really delighted!

Schubert's Wanderer Fantasy is fantastic! I bought this CD without knowing what a great work this is! Richter's playing is awesome, absolutely stunning!

This is yet another fabulous CD from the amazingly affordable "Great Recordings of the Century" series from EMI! A must for all Richter fans!!!

Surprisingly awful!.......2004-07-15

Considering the performers on this disc, one would expect musical genius. Well, one does find technical marvels, but in terms of music, this is an atrocious display. The Dvorak concerto, one of the finest written for the piano, is utterly lifeless. One would at least hope for the ultimately unsatisfying but sometimes fun intensity that Kleiber brings to absolutely every other recording he's made. But no, nothing. A far safer choice is Frantisek Maxian's reading with Vaclav Talich conducting the Czech Philharmonic.
As for the Wanderer-Fantasie, it is disgraceful. While Pollini seems to be all about his brain in his recording, Richter seems to be all about his muscles here. It is an awesome technical achievement, and it makes for pleasant listening like mechanical diagrams make for entertaining reading. In the third movement, one has to really think about when the climax is, because Richter's dynamics don't enlighten us in this regard at all. The dynamics are as though he were sight-reading. For this piece, I haven't heard many recordings, but the Curzon is highly recommended. Not as muscular, but infinitely more enjoyable.

Lyrical Side to Richter in Dvorak and a fine Schubert too.......2003-08-26

The legendary pianist Sviatoslav Richter offers one of the most compelling, lyrical performances of Dvorak's piano concerto in this excellent recording with Carlos Kleiber leading the Bavarian Radio Symphony Orchestra. This concerto is a precursor to the great "symphonic" concertos composed by Brahms for the piano. Both the orchestra and Richter give warm, vibrant performances of the score. But here Richter also emphasizes the lyrical qualities of Dvorak's music, playing with much passion and empathy. Richter's performance of Schubert's "Wanderer" fantasy may not please everyone, since this is among the most dramatic, indeed fiery, performances I've heard. But it is such a compelling performance, that it deserves to be heard by those interested in a more poetic interpretation. The sound quality for the Dvorak piano concerto is fine; but less so for the Schubert fantasy. Still this is a CD I strongly recommend to those interested in the careers of Richter and Kleiber.

Schubert 4, Dvorak 1.......2003-07-16

I would have preferred an all Schubert program, though I don't believe Schubert ever wrote a piano concerto. The Dvorak puts me to sleep, regardless of the excellent forces employed to play it. Currently, I'm looking for another "Wanderer Fantasy" performance...

Historic Russian Archives: Sviatoslav Richer in Concert

Average customer rating:

I Feel Ya
A giant among the great ones!
March 5, 1978: The Day the Earth Stood Still.
Superb Moments
the master at work

Historic Russian Archives: Sviatoslav Richer in Concert

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B0002YCW1Y
Release Date: 2004-09-28

Customer Reviews:

I Feel Ya.......2007-06-07

The other reviews are SO articulate & heart-felt, except I'm not comfortable with the phrase "Richter moment". But, I'll tell you, Richter's Bach - Well Tempered Clavier on Meloydia LP's - takes me way out there, and now, Richter's Beethoven, on this box set, takes me way out there. Puts me right in the moment of eternity. It feels very good to listen to it, that's what I'm telling you. So does the Schubert and the Listz. A great box of great recordings of great playing of great pieces.

A giant among the great ones!.......2007-02-22

The formidable, astonishing and fabulous artistic trajectory of Sviatoslav Richter has impelled to seek with absolute priority character, neglected recordings of Richter during his years in the extinct URSS. And the result has been not only satisfactory but gratifying too.

Listening him during his first four decades, we may realize about the pristine and even epic sound he approached every work he played. As a matter of fact certain composers such as Prokoviev, Bach, Franck and Tchaikovsky sounded with an enviable mercurial energy, accurate phrasing and resplendent fingering, and that's a very interesting parameter not only to scrutinize the career of this overwhelming pianist, besides it gives us some clues around the way and approach of the Russian pianism in those ages of ferrous oppression, where the isolation respect the West was more than obvious. You may realize how the most of pianist who were born behind the iron curtain were attached to old patterns and references, because simply had not contact with new approaches of this side of the world.

In the case of the orchestral direction (think in Hermann Abendroth, for instance) the statement is much more evident, but it would apart us of our initial consideration.

So, under any single pretext you should miss this invaluable set of historical recordings of a pianist who left countless traces of his genius around the western hemisphere.

March 5, 1978: The Day the Earth Stood Still........2006-01-14

Growing up in a city (Rotterdam) that had a whole arsenal of nukes pointed at it, I never developed a warm and fuzzy feeling for the USSR and its mostly state-endorsed artists. As a consequence, it was not until I started attending University in the 1980s that I became aware of the existence of the other great Richer: Sviatoslav.

My introduction was by an older lecturer who had more than one occasion confessed that he was one of the many attendees at Richter's first Concertgebouw recital in 1961, who cried more than a handkerchief full upon hearing the master play Schubert's final Sonata, D960.

Unfortunately, it has often been remarked that Richter's concerts were much better than his studio recordings, which was one of the factors that resulted in a situation where the great majority of later Richter recordings were live ones.

Glenn Gould who considered Richter as one of history's greatest pianists blamed the latter's record producers and recording engineers for this inadequacy and went to great length to convince Richter to come to the US to produce a record for him with anything but Rachmaninov. (Richter, who disliked the US and long distance travel declined strategically by accepting the invitation on the condition that the retired and reclusive Canadian would give a concert at Sviatoslav's favorite french music festival. A definit non sequitor.)

The other reviewers have gone into quite some detail on the contents of this recording and while I disagree with the at times harsh assessment of a lot of the included performances, I will focus here on what I consider to be one of the greatest recordings of all time, the almost infinitely long (26'18) performance of the first movement of the D894 Schubert Sonata.

Based on a live performance that Gould attended during his historic trip to Russia he phrased the so called Richter - Schubert paradox. The Canadian stated that he had never really learned to appreciate Schubert's piano music and song accompaniments, because "musically" there was so little going on. While Schubert was definitely more modern than Beethoven in his harmonic language, his sense of modulation, which greatly helped his music's lyrical quality, was rather poorly developed. However, Gould conceded, and here is where the paradox comes in, that Richter in playing a lot of Schubert slower than the generally acceptable classical standard actually made it way more powerful and involving than his fellow Schubertians.

This paradox applies nowhere more strongly than in this earth shattering performance of the D894 sonata that even in Schubert's oeuvre stands outs for it's paucity of harmonic development. Recorded on the aforementioned date, Richter really let the Earth stand still for almost half an hour.

Everything that happens here flies right in the face of rationality, a sensible use of the piano, or a historically accurate performance (get Kempff). Still, none of this matters the least. The result is the most static of classical performances, on the one hand in the most subtle pianism, yet on the other with the most starkly dynamic variation between the main theme's first entrance in the Major keys and it later appearance in Minor. Both representing pianism of the highest order and incredible courage of doing this in front of an at times coughing audience, one cannot help but conclude that Brendel was correct when he named Schubert "the most direct of all composers". These 26 minutes justify the purchase price at least a hundred times over.

Again paradoxically, I have never been similarly impressed by Richter's more famous D960 interpretations. Both in this recording and a highly touted other live version from Britten's own festival, Schubert's tonal exploration of the realms of life and death are a little too schmaltzy to me. Here I clearly prefer Kempff and Lupu's most recent recordings.

Nevertheless, D894 is this set's raison d'etre. After all, Richter himself was one of the victims of the mistaken social engineering experiment formerly known as the USSR. Yet, he was able to create an entire universe of his own to withdraw in.

Superb Moments.......2005-08-20

These are live recordings (Russian archives) dating from 1961 to 1978. You can hear, now and then, someone coughing in the audience, but overall the sound is very good. This is what you get, on five CDs:

Beethoven:
Piano Sonata in C major Op. 2 No. 3
Piano Sonata in E flat major Op. 7
Piano Sonata in D minor Op. 31 No. 2 Sturm
Piano Sonata in E flat major Op. 31 No. 3
Piano Sonata in E minor Op. 90
Piano Sonata in A major Op. 101
Piano Sonata in E major Op. 109
Piano Sonata in A flat major Op. 110
Piano Sonata in C minor Op. 111

Liszt:
Piano Sonata in B minor

Schubert:
Piano Sonata in E minor D566
Piano Sonata in B major D575
Piano Sonata in G major D894
Piano Sonata in B flat major D960

Richter creates superb moments and offers, as usual, a classical, rich and profound reading. And there is also something else floating in the air, like golden dust - maybe the nostalgia of long and grey Sundays when a flamboyant and lyrical pianist was warming the hearts of those for which life itself was too cold.

A ecouter toute une vie.

Thank you, Brilliant Classics, and keep up the good work !

the master at work.......2005-03-23

Buy this for the Liszt sonata! A live performance which stands up to comparison with Horowitz's legendary recording of the 30s. Some of Richter's speeds here are vertiginous and the power he administers is mind-numbing. Having heard performances of this work by every one from Brendel to Cziffra to Ranki to Gilels, this is the best (Horowitz notwithstanding).

Richter's op 111 is also a great one, as are the recordings of op 90 and op 2 no 3. However there is some hideous background and audience noise (op 110) and fluffing of the tape equipment (op 101, 2nd movt) although this is a small price to pay, as the interpretations are so alive and powerful.

Average customer rating:

Richter excels in Schubert as always

Sviatoslav Richter Plays Schubert

Manufacturer: Regis Records
ProductGroup: Music
Binding: Audio CD

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Sviatoslav Richter Plays Schubert Piano Sonatas D958, D960
BBC Friends: Richter (Great Performers of the Twentieth Century)
The Sofia Recital 1958
Schubert: Piano Sonatas
Schumann: Papillons; Introduction & Allegro appassionato; Schubert: Piano Sonata in B flat major, D. 960

ASIN: B0000AKMYJ
Release Date: 2003-07-09

Tracks:

I. Allegro moderato
II Andante
III. Allegro
I. Allegro giusto
II. Andante
III. Allegro vivace
No.2 in E flat major - allegro
No.4 in A flat major-allegretto

Album Description

PIANO SONATA No.13, Op.120, D664 PIANO SONATA No.14, Op.143, D784 IMPROMPTUS Op.94, D899, Nos. 2, 4

Customer Reviews:

Richter excels in Schubert as always.......2004-02-29

These are recordings that were made during one of Sviatoslav Richter's Japan tours. They date from February 1979, Tokyo. Exactly the same disc has been published before on the Olympia label but for some reason it was removed from the catalogue. Regis Records have been so smart to pick the disc up and publish it again. They took care of a bigger part of the Olympia heritage, however: a search for `richter regis' will find you about seven discs that are all very well worth it.

So far the external information; on to the disc itself. It includes Schubert's A major D664 sonata, the A minor D784 and the E flat and A flat impromptus D899. Schubert's music was a terrain at which Richter felt particularly at home, possibly because his own character had many similarities with Schubert's music. Additionally, this music only asks for minimal virtuosity, but utmost musicality. It was therefore an excellent terrain to show how much he had to offer apart from his legendary technique. He often succeeded in that and he was surely among the best Schubert players in history. There are some moments I wondered if a younger Richter wouldn't have played a little better (he was nearly 65 here) but generally this is an indispensable document.

First there is the D664 A Major sonata, one of Schubert's sunniest compositions, with a dreamy first part that has a continually returning main theme, a peaceful Andante and finally a joyous finale. Richter takes the first movement at quite a broad tempo but that only adds to its beauty. He reads the music exceptionally well, is extremely expressive all the way through and seems to be in total relaxation, just as Schubert must have been when he wrote it. It's twelve minutes of pure music he delivers with that first movement, and however often the main theme returns, I really can't get enough of its beauty. I wish Richter had recorded the somewhat similar D959's final too! OK, and if you hadn't been lulled into total tranquillity yet, the sublimely serene second movement will help. The final movement is sublime too, but in another way: its quirky changes between loud chords and runs and charming dancing-steps are brought out like never before. Richter's great dynamic variety is most welcome here. Sometimes he pounds quite hard but it's never disturbing. A most humorous and charming finish, after all.

The A minor sonata is something quite different. The whole piece breathes an exceptionally sad mood: be it the first part with its frequent outbursts, the falsely quiet second part or the disturbing finale, with some passages that sound like a danse macabre. Richter is again exceptional in this work, though I wish he would have used the pedal a little more frequently in the louder passages. Now it can sound unnecessarily rough at times. But it's not that bad after all. And it's good to hear that Richter, unlike Brendel or Zacharias to name two, dares to play every ff indication in the first movement really fortissimo and nothing less. The quieter parts of the piece are governed masterfully, once again. Sometimes I get the idea that Richter is somewhat too much relaxed, but he handles the gripping first movement very well at any rate. The solemnity of the second part comes out well too though I'd like a little more strength in the section after 25 measures (at 2'10). And as you might expect, he is his whole self in the third movement, that's almost made for him, with its wild runs that make me think of Prokofiev at times. Apart from then high speed and angriness he exposes, I also like his excellent voicing for the left hand: no note remains hidden. At the end sequence, I miss that little bit of pedalling that would have made it really excellent. He does a very impressive job with the whole sonata anyway, although he might have been even better at this at an earlier age.

That is the case with the two Impromptus anyway. Richter plays the E flat impromptu very neatly and correctly and all, but his earlier accounts (like the one of the 1958 Sofia recital) are far more driven and intense. This rendition is quite bland, as a result: especially the coda doesn't have half the fire of his stormy Prague rendition. The same is effectively true of the A flat: nice but for the edge-of-your-seat-readings go elsewhere. Olympia/Regis could have included better fillers than these anyway.

Tracks:

I. Allegro
II. Allegretto - Maggiore
III. Rondo. Allegro Comodo
I. Allegro
II. Andante
III. Scherzo. Allegro Assai
Fantasy In C major, D 760 'Wanderer'
Theme And Variations On The Name 'Abegg', Op.1
I. Allegro. Sehr Lebhaft
II. Romanze. Ziemlich Langsam
III. Scherzino
IV. Intermezzo. Mit Grosser Energie
V. Finale. Hochst Lebhaft
Etude In C Sharp Minor, Op.10 No.4

Customer Reviews:

Memorable recital!.......2006-07-29

The Royal Festival Hall's audiences were witnesses also knew about the grandness of this mater of the piano. Richter, had caused absolute disturbance as well as a evident furor in USA with motive of his debut in Carnegie Hall in 1960.

Richter knew to choose his repertoire according the audiences. He decided to start in Carnegie Hall with Haydn, but in London 1963 Beethoven was the chosen composer to initiate that unforgettable soirée. Impeccable phrasing and accurate fingering was enough to deserve all the praises.

The Second half of the Recital was still better, because the introspective mood of Robert Schumann was always much more closer to Richter ` s temperament. And this was a very risky decision, specially when the great audiences in London had listened to Benedetti Michelangeli in the famous recital of 1957, but smartly Richter also knew there was no other pianist with such renowned fame like him from those times. Besides he had been known in 1960 because the terrible controversy, generated with Karajan with motive of visible discrepancies around the triple Concert . So the expectative was enormous and Richter accepted the huge challenge.

The result was surprisingly effective. Richter was overwhelmingly inspired that evening and even 43 years after, the positive comments still are in the environment. He overpowered the audience with his strong artistic personality. When you listen the chosen piece, product of the sonorous applauses, Chopin `s Etude No. 4 , you will know why that night had to be a mesmerizing experience.

Additionally you will hear the most mesmerizing Wanderer that Richter ever layed.

A musical document of incalculable value!

Richter is brilliant.......2005-07-09

The contents of this CD: two Beethoven sonatas (Op. 14, #1 in E and #2 in G); Schubert's "Wanderer" Fantasy; Schumann's Theme & Variation on "Abegg" (Op. 1) and Faschingschwank aus Wien (Op. 26); and a Chopin Etude (Op. 10, #4 in C# minor). These are concert recordings from the Royal Albert Hall in 1963, but the sound quality is good and the audience noise is minimal (until the thunderous applause at the end of each piece). Richter, of course, shines. His Beethoven is powerful and precise. His interpretation of the "Wanderer" Fantasy breathes a wonderful vitality into that piece. The Schumann is wonderful, especially the relatively obscure "Faschingschwank." The Chopin --- no doubt an encore piece --- gives a rousing close to this piece. For anyone interested in these pieces, and/or anyone interested in studying Richter, one of the great pianists of the 20th century, I would heartily recommend this album.

robert schumann, piano concerto in A minor, richter, s.,pian.......2005-02-12

I haven't heard your recording, so I cannot rate it,
However, I heard a recording abour 40 yearsa ago. It is,
undoubted one of the most beautiful pieces of music ever composed. Sviatoslave Richter is superb!!!

Sviatoslav Richter in the 1950's, Vol. 5

Average customer rating:

Sviatoslav Richter in the 1950's, Vol. 5

Manufacturer: Parnassus
ProductGroup: Music
Binding: Audio CD

Polonaises | Ballets & Dances | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

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Similar Items:

Sviatoslav Richter in the 1950s, Volume 4
Schumann: Papillons; Introduction & Allegro appassionato; Schubert: Piano Sonata in B flat major, D. 960
Sviatoslav Richter Archives, Vol. 12
Sviatoslav Richter, Archives 11
Sviatoslav Richter in the 1950s, Vol. 3

ASIN: B000K2UFW6
Release Date: 2006-11-28

Music Track: