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]
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