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Richter in Leipzig - The Complete Recital of 28 November 1963
Ludwig van BEETHOVEN (1770-1827)
Piano Sonata in E major, Op. 109 (1820) [18:09]
Piano Sonata in A flat major, Op. 110 (1821) [20:33]
Piano Sonata in C minor, Op. 111 (1822) [23:53]
Johannes BRAHMS (1833-1897)
Ballade in G minor, Op. 118, No. 3(1892-93) [3:29]
Intermezzo in E flat minor, Op. 118, No. 6 (1892-93) [5:16]
Intermezzo in C, Op. 119, No. 3 (1892-93) [2:19]
Frédéric CHOPIN (1810-1849)
Nocturne in F major, Op. 15, No. 1 (1830-31) [5:09]
Sviatoslav Richter (piano)
rec. Leipzig Gewandhaus, 28 November 1963. ADD
PARNASSUS PACD 96032 [78:52]
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Two well-known features of Richter’s discography are the avoidance
of complete cycles - not even all five Beethoven concertos -
and the large number of duplications. For many collectors this
second aspect presents no problem. Any dedicated fan of Richter
would have to own every recording he ever made, as his tremendous
authority, concentration and risk-taking so often combine to
create a riveting experience. The fact that the vast majority
of Richter’s recordings are of live performances is a great
advantage, as he so often generates a sense of pushing boundaries
and a tangible sense of risk. Many of the live performances
of the greatest artists - such as Richter - are essentially
probing and this kind of more “dangerous” approach is likely
to yield breathtaking results. In short, for Richter fans this
will be an essential purchase.
Whereas Mozart’s music was not an entirely natural part of Richter’s
musical personality, as he himself admitted, Beethoven’s most
certainly was. Richter perfectly understood the explosive, unpredictable,
severe and uncompromising aspects of Beethoven’s music, as well
as the more intimate and tender. Alfred Brendel may have captured
more of Beethoven’s humour and eccentricity, but otherwise I
cannot think of another pianist I would rather hear in the three
late sonatas. Beethoven’s greatest works convey a sense of danger
in their extending of boundaries; there is very little that
is comfortable about them. The finest performances project these
characteristics. Never sentimental or precious, Richter seems
to me to present the unvarnished truth, sometimes harsh or painful,
but always honest and deeply moving.
To be selective, I would pick out from the successive movements
of Op. 109: the immediate sense of lyrical, passionate involvement
and subsequent explosions of energy in (i), the tempestuous
character of (ii) and the marvellous inwardness of the theme
itself in (iii). These observations merely hint at the sheer
range of expression and tone which Richter commands.
In Op. 110 there is the delightful simplicity of the opening,
then the ideal, genuinely “leggiermente” contrast at bar 12;
the determined strength of (ii) – though the “trio” section’s
groups of descending quavers are a little awkward; in (iii)
the unforced majesty of the fugue, with the first fortissimo
truly and mightily realised, while Richter’s extraordinary cantabile
enhances the arioso sections. Incidentally, the admirable simplicity
of this sonata’s opening is a quality with which Richter endows
late Beethoven in general. Many pianists seem to strive for
profundity or transcendence in every bar, whereas Richter has
an infallible instinct for a kind of natural, uncomplicated
eloquence, his slow tempos never too slow. This is again evident
at the opening of the Arietta movement from Op. 111, following
a breathtaking interpretation of the first movement. The increasingly
complex variations themselves find Richter in all-conquering,
all-embracing mood – amounting to a sublimely satisfying experience.
As if this were not enough, there are no fewer than four encores.
Apparently Richter did not care to play encores, except when
he felt dissatisfied with his playing in the scheduled pieces
and wanted to compensate his audience. One can only disagree
and be doubly thankful! I find the performance of Chopin’s F
major Nocturne from Op. 15 particularly mesmerising.
Audience noise is present and sometimes intrusive, but I don’t
believe anyone will be driven mad by it. The piano sound is
not the most ingratiating but I would be surprised if it seriously
detracted from anyone’s enjoyment. For me this is a disc to
treasure.
Philip Borg-Wheeler
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