Composer: Sviatoslav Richter
Works: Haydn: Sonata in C, Hob.XVI/50; Chopin: Scherzo no. 4 in E, op. 54; Ballade no. 3 in A flat, op. 47; Rachmaninov: Preludes, op. 23/1, op. 32/9, 10, 12; Ravel: Jeux d’eau, Miroirs: La Vallée des Cloches; Prokofiev: Sonata no. 6, op. 82; Visions fugitives, op. 22/3-6, 8, 9, 11, 14-16; Debussy: Préludes, Book 1: Les Collines d’Anacapri; Chopin: Etudes, op. 10/10, 12; Mazurka op. 24/2
Performers: Sviatoslav Richter (pianoforte)
Recording: Recorded live, 26 Dec. 1960, Carnegie Hall, NY; 28 Dec. 1960, Mosque Theatre, Newark
Label: RCA
The release of “Richter Rediscovered” offers a compelling opportunity to revisit the artistry of Sviatoslav Richter, a titan of 20th-century piano performance. This compilation of live recordings from the twilight of his initial United States tour presents a significant historical moment not only for Richter’s career but for the broader landscape of classical music in the 1960s. The repertoire spans from Haydn to Prokofiev, encapsulating the diverse emotional spectrum and technical complexity that defined Richter’s playing.
Richter’s interpretation of Haydn’s Sonata in C (Hob.XVI/50) is striking in its architectural clarity and emotional depth. While one may expect a lightness and playfulness typical of Haydn’s earlier works, Richter opts for a more profound exploration of the sonata’s structural integrity. The first movement is imbued with a vigor that contrasts sharply with the introspective beauty of the slow movement, showcasing a remarkable range of dynamics and articulations. Richter’s pedal usage, or lack thereof, creates a striking clarity; each note rings out independently, avoiding the muddiness that can often accompany modern interpretations. This is a masterclass in how to sustain musical lines without resorting to the sustaining pedal, allowing the listener to appreciate the rich textures woven into Haydn’s fabric.
The program transitions seamlessly into Chopin, where Richter’s performances of the Scherzo no. 4 and the Ballade no. 3 are nothing short of revelatory. The Scherzo, with its contrasting sections, is executed with a rare blend of explosive energy and lyrical warmth. The outer sections erupt with a dazzling display of technical prowess, while the central theme is rendered with a singing quality that transcends mere note-play. Similarly, the Ballade builds with an inexorable tension that captivates the listener, each phrase sculpted with acute awareness of the emotional landscape. Here, Richter’s ability to balance technical demands with expressive depth is a hallmark of his artistry, placing these performances in the pantheon of great interpretations.
In the Rachmaninov preludes, Richter’s identification with the composer becomes even more pronounced. His nuanced phrasing and meticulous attention to contrapuntal lines reveal a depth of understanding that allows for a fully realized emotional narrative. The Preludes are not merely technical exercises; they come alive through Richter’s sensitive touch and dynamic shading. His interpretations of the Prokofiev Sonata no. 6 and the “Visions fugitives” further underscore his capacity to navigate the composer’s intricate textures, balancing lyrical moments with the inherent strength of the work. This duality is handled with a finesse that exemplifies Richter’s capacity for both power and delicacy, making these interpretations exemplary.
Recording quality in this release is commendable, particularly given the live nature of the performances. While there is a slight two-dimensionality to the sound, the clarity and responsiveness to Richter’s tonal gradations are noteworthy. The minor distortions present during fortissimo passages are easily overshadowed by the overall fidelity of the recordings. The applause, though at times intrusive, serves as a reminder of the electrifying atmosphere of the concerts, enhancing the listening experience rather than detracting from it.
The juxtaposition of Richter’s interpretations of Ravel’s “Jeux d’eau” and “La Vallée des Cloches” with those of more impressionistic pianists, such as Walter Gieseking, presents a fascinating contrast. Richter’s approach to Ravel is infused with a darker intensity that, while compelling, diverges from the traditional lightness associated with the composer. This interpretation opens up an intriguing avenue of exploration, revealing layers of meaning in Ravel’s work that may not have been previously considered, yet it may challenge listeners expecting a more conventional rendering.
This collection stands as both a testament to Sviatoslav Richter’s unparalleled artistry and a vital contribution to the recorded legacy of classical piano music. For those seeking a singular representation of a pianist whose interpretations resonate with both emotional depth and technical mastery, “Richter Rediscovered” is indispensable. The performances not only justify the re-exploration of Richter’s oeuvre but also reaffirm his place among the pantheon of great pianists.
