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Schumann - Fantasie, Faschingsschwank aus Wien, Papillons - Sviatoslav Richter

Posted in EMI, Piano, Schumann, Sviatoslav Richter

Richter [Rikhter], Sviatoslav (Teofilovich)

(b Zhytomyr, Ukraine, 20 March 1915; d Moscow, 1 Aug 1997). Russian pianist. His father was a German pianist and composer who studied in Vienna and taught at the Odessa Conservatory. His mother, from a landowning family of mixed national background, had been a pupil of his father. Richter grew up speaking both Russian and German. His first love was painting, which he learnt from his aunt, with whom he spent three years between the ages of four and seven, cut off from his parents by the Civil War.

On his return to Odessa in 1922, Richter began to learn the piano and to compose, being largely self-taught in both areas. As a child he also wrote plays. His earliest musical passion was for opera. He enjoyed sight-reading from vocal scores at home, and for a while he had ambitions to become a conductor. From 1930 to 1932 he worked as accompanist at the House of Sailors in Odessa in order to supplement the family income, and then at the Odessa Philharmonic. He made his solo début playing Chopin at the age of 19, and in the following year became an accompanist at the Odessa Academic Opera and Ballet Theatre.

In 1937 Richter entered the Moscow Conservatory to study with Heinrich Neuhaus, living in his teacher's house during his third year. He refused to study other subjects or to take examinations and was expelled on three occasions but reinstated at Neuhaus's insistence. He made his official début on 26 November 1940, in the Small Hall of the Moscow Conservatory, playing works by Russian composers, including the first performance of Prokofiev's Sixth Sonata. His association with Prokofiev continued with performances of the Fifth Piano Concerto and the Seventh Sonata, the latter being another première; in gratitude Prokofiev dedicated his Ninth Sonata to Richter. In 1952, at a time when Richter had broken a finger, he made his only appearance as a conductor, with the Moscow Youth Orchestra in the first performance of the revised version of Prokofiev's Cello Concerto (the work later to be known as the Sinfonia Concertante).

World War II separated the family again, and while Richter was studying in Moscow his father was arrested, along with others of German stock in Odessa, and executed. His mother left the city together with the occupying troops at the end of the war, eventually settling near Stuttgart. Richter was reunited with her in August 1961, having believed her dead since 1942. After the war Richter's fame spread rapidly in Russia and the Eastern bloc countries, but for many years he was not allowed to travel to the West. The reasons remain a matter for speculation, but it cannot have helped that he always placed art above politics, maintaining his friendship with Pasternak at all costs, for instance; nor can it have helped that he was homosexual, despite his marriage in 1946 to Nina Dorliak. His New York and London début performances in 1960 caused a sensation and were followed by a series of recordings which have had classic status ever since (including Schumann's Fantasie, Skryabin's Fifth Sonata, Liszt's concertos and Prokofiev's Eighth Sonata). His repertory was extensive, covering Bach to Prokofiev and including many less frequently heard works, but shunning complete cycles with the exception of Bach's Das wohltemperirte Clavier.

From 1960 to 1989 Richter made an average of 70 concert appearances per year. He toured extensively in Europe and Japan, preferring to play in small venues on the way and travelling by train and car rather than by air. He avoided long-term recording contracts, but many of his live appearances were recorded and his discography is probably the largest of any pianist.

In 1964 he founded a festival at Tours, housed in a converted barn. Here and elsewhere he developed associations with favoured chamber music partners, including his wife (the singer Nina Dorliak), the violinist Oleg Kagan, the cellist Mstislav Rostropovich and Benjamin Britten. His association with Britten led him to produce the latter's opera The Turn of the Screw for the Moscow December Nights Festival in 1984.

In Richter's later years health and nervous problems led to many cancellations of concerts. Increasingly he preferred to play from the printed score in a hall lit by a single standard lamp, using Yamaha instruments whose neutral colourings did not impose ready-made beautiful sound on the music. Although he professed to love Wagner, Chopin and Debussy above all other composers, Richter's most memorable performances were in Beethoven, Schumann, Liszt and Prokofiev. The hallmarks of his finest playing are intense concentration over long timespans, often with unusually spacious tempos (notably in Schubert). At times this resulted in no more than plainness; but at his best his playing achieved an unequalled sense of inevitability and timelessness.

By his own admission he never took an interest in political questions and until the late 1980s he chose to make his Moscow apartment his home base. Unusually for Russians of his generation, he never taught. Painting remained an important means of expression, and in 1978 he gave an exhibition at the Pushkin Museum in Moscow. A Society of Friends of Sviatoslav Richter was formed in 1987, with a dual base in England and Germany, and has dedicated itself to assembling comprehensive details of the artist's life and works.

Extracted from
The New Grove

Schumann

Fantasie in C Op. 17
Faschingsschwank aus Wien Op. 26
Papillon Op. 2

Sviatoslav Richter, piano

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Beethoven - Piano Sonata Op. 111; Schumann - Symphonische Etüden Op. 13, Toccata Op. 7 - Ivo Pogorelich

Posted in Beethoven, Deutsche Grammophon, Ivo Pogorelich, Piano, Schumann, Sonata

Beethoven still had five years left to live when he wrote this sonata but in many ways it feels like a definite end. The thirty two piano sonatas has spanned nearly thirty years of his life and transformed the genre from an at home entertainment to a vehicle of intimate, personal expression. Pianist Robin Taub describes Op. 111 as , "a work of unmatched drama and transcendence … the triumph of order over chaos, of optimism over anguish."

The work is only two movements, something he did in four previous sonatas but still unusual enough for Beethoven's publisher to assume that the final sonata-rondo has been lost in the post. A sketch was made for the last movement but, with every second counting, it was put aside in favour of the Missa Solemnis.

Beethoven had managed to solve the problem of unity between movements by resolving the conflicts of one in the other. The two-movement format also results in an interesting binary comparison representing the opposing forces of major/minor, allegro/adagio, appassionato/semplice, sonata form/variation form, turmoil/ecstatic serenity, earthly/spiritual prevalent in much of his work. ...

Extracted from

The Omniscient Mussel

Superb interpretations of Beethoven's Sonata Op. 111 and Schumann's Symphonische Etüden. Young Pogorelich in one of his greatest moments! (Erlen)