Composer: Sergei Prokofiev
Works: Sonata no. 4 in C minor, op. 29; Mozart: Sonata in G, K. 283; Tchaikovsky: The Seasons, op. 37a; Rachmaninov: Etudes-Tableaux, op. 39; Scriabin: Sonata no. 9, op. 68 “Black Mass”
Performers: Sviatoslav Richter, piano
Recording: Aldeburgh Parish Church, 19.6.1966
Label: BBC Legends BBCL 4082-2
Sviatoslav Richter, a titan of the piano, is often regarded through the prism of his spectacular live performances, which possess an aura of spontaneity and immediacy. The present recording from Aldeburgh Parish Church in 1966 encapsulates not only his formidable technical prowess but also his enigmatic musical personality. This collection juxtaposes works from different composers, revealing the nuanced interpretations that Richter brought to each, from the Classical elegance of Mozart to the emotive landscapes of Rachmaninov and the intricate modernity of Prokofiev.
Richter’s interpretation of Mozart’s Sonata in G, K. 283, is marked by a serene deliberation that speaks to the pianist’s characteristic Olympian calm. The first two movements unfold with a measured grace that highlights the inherent beauty of Mozart’s melodic lines. While the Andante might have benefited from a broader expressive palette, the full embrace of repeats showcases Richter’s commitment to the structure and coherence of the work. His approach, though occasionally lacking in dramatic inflection, nonetheless invites listeners to appreciate the sheer musical value of Mozart’s writing. The Finale, conversely, reveals a more aggressive temperament, suggesting a robust engagement with the music that diverges from the operatic nuances typically associated with Mozart’s work.
In the Tchaikovsky selections, particularly “The Seasons,” Richter adopts a similarly straightforward interpretative strategy. His rendition of the Barcarolle, for instance, eschews the typical fluidity one might expect, opting instead for a rigorously intellectual presentation of the contrapuntal lines. The result is a performance that, while undeniably beautiful, risks neglecting the evocative imagery embedded in Tchaikovsky’s music. In “Troika,” Richter’s vision transforms the piece into an abstract exploration, diverting from the lively, joyous character that many pianists bring to this work. The interpretation encourages listeners to engage with the music on a cerebral level, though one might question whether such a rendering aligns with Tchaikovsky’s original intent.
Richter shines most brightly in his interpretations of Rachmaninov and Scriabin, where the piano-centric nature of the compositions allows for a more visceral interaction with the music. The Etudes-Tableaux, op. 39, offer an exhilarating display of technical command and emotional depth. Richter’s ability to blend individual notes into a cohesive soundscape is particularly striking, especially in the F-sharp minor study, where the interplay of dissonance and resolution is executed with deft precision. Comparatively, the shorter Scriabin Sonata no. 9 is given a more impressionistic flair, with Richter allowing colors and textures to blend seamlessly, thus contrasting sharply with the more delineated performances by other pianists like Horowitz.
The recording quality, while reflective of its time, surpasses many live performances from the era. The sound captures the essence of Richter’s playing without the full range of modern fidelity, yet it remains engaging and vibrant. The absence of applause at the end of pieces, coupled with the audible audience rustlings, evokes a sense of historical context that transports listeners to a different age of concert-giving etiquette.
Richter’s performance on this recording embodies both the rigor and the enigma of his artistry. His capacity to engage deeply with the music, whether through a didactic lens or a more spontaneous approach, makes this collection a vital document for understanding his legacy. This recording not only showcases the breadth of his interpretational abilities but also stimulates reflection on the essence of the compositions themselves, inviting listeners to ponder the complex interplay between performer and score.
