Schubert - S. Richter (1978 live Moscow) Various Impromptus & Moments musicaux
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- Опубликовано: 8 июл 2024
- Dédié au Vieux Mage et à Pianopera !
0:00 : Impromptu in G flat major, D. 899- No. 3
7:01 : Impromptu in E flat major, D. 899- No. 2
11:41 : Impromptu in A flat major, D. 899- No. 4
19:25 : Moments musicaux, D. 780- No. 1. Moderato
25:04 : No. 3. Allegro moderato
27:08 : No. 6. Allegretto
Великий! Неповторимый! Единственный!
Perfect sound control, clarity & precision. He makes the music speak for itself.
Deeply impressed ! He is not playing but telling something by piano.
Whatever he played he turned into magic.
An uninspired Richter is always magic. He always had a lot to say in a very special way. A real artist, never repeating himself, never letting the audience wait for the same thing. It is called ART!
I have yet to come across an “uninspired” moment in Richter’s playing.
Richter non è mai banale ,ma sempre autentico e profondo.
È quello che lo distingue da Guld, spesso paradossale , da Horowitz a volte indulgente a sentimentalismi eccessivi , a Schiff perfetto ma rimane più in superficie, per non parlare di Michelangeli il re del suono magico e perfetto, perfetto in brani di alcuni periodi ma piuttosto distaccato in altri....x citare solo alcuni.
Richter ha proprio una marcia in più....proprio per la verità , la profondità e il timbro. Trovo questi aspetti in Radu Lupu.
Hard to say he is uninspired here. Are you referring to D-899 No 2 as well?
Magico , inexplicable... Un milagro...
So beautiful ~ Richer is right..
Thank you.
Темп ges dur'ного Экспромта удаётся не всем!😮😢😮❤❤❤❤❤❤❤
Precioso Improunto ,se oia siempre en las audiciones ,cuando era estudiante de piano
It is as Glenn Gould said: when listening to Sviatoslav Richter you get into a state of hypnotic trance.
C'est à la fois rêveur et tragique, la mélodie aspirant à elle tous les contours comme dans un effort qui la transcende...
hermoso!!!!!
27:08: my god... 😢😢😢
Il ne faut pas juger Richter sur ses interprétations des impromptus, mais sur celles des sonates qu'il rend comme nul autre.
Richter could sometimes be quite tense - but he had the Courage to Play slow tempi , despite the fact that his technique was trancendental , and so many Details came to life, especially in Schubert all the demonic and abysmal shadows that are there , just under the Surface .
Too fast is too easy
Concordo perfettamente! Richter non era un acrobata ma un poeta.
Apprezzo in lui il non indulgere mai in facili sentimentalismi , con rallentamenti o riducendo il volume, come fa Horowitz o altri.
Il canto di Richter è sempre terso e bellissimo..
I am listening....
Рихтер играл Экспромт №3 в тональности G-dur. Так он писал в своих Тетрадях (к сожалению, неизданных).
엄청나게 섬세하네요...
Exelente pianista.
😂😂😂
Too slow? My answer is that STR is again viewing the music with his proverbial magnifying glass. Very inspired, very convincing. A bit questionable the last chord in LH, meas.5 & 59.
Probably before the concert he was playing these pieces in a different way.. maybe more happily and faster.. who knows.. Probably if he knew that his performance on this concert would be saved and spread to the world after that performance, he would have played in a different way. Every time his playing was unique, he usually didn't repeat his interpretations each time in the same way, but he could have many different types of interpretation each time he was playing each work. Just saying my opinion. I don't really know.
Ternura
Y vulnerabilidad.
And when and where was this performance?
Thanks for the information: May 3, 1978 in Moscow at the Moscow Conservatory Great Hall.
Interromper Schubert no meio da música é uma aberração! Aparentemente demonstra que o you tube não gosta do que faz. É só negócio.
The 3rd impromptu is A flat minor (not major)
No, it's major. You have to go to to the end of the piece to check it
Only Horowitz with his inspired live interpretation from Vienna can sustain such a slow tempo in the G Flat. Richter is good whereas Horowitz is simply mesmerising. I normally greatly admire Richter playing Schubert, however here I have to say he sounds somewhat disengaged.
Well, the audience loved the G Flat.
I agree with you on this specific comparison. Anyone who has not heard Horowitz playing this might find it hard to believe, though. Parts of the Richter Gb are sublime, but parts are, I agree, "disengaged". Especially the slowest tempo passages...
Fast noch besser als Khatia Buniatishvili, noch getragener und noch intensiver.
"Fast"?
😄
To compare Buniatishvili with Richter is like comparing a pumpkin with an orchid.
@@affonsosantos5729 Natürlich ist Khatia eine Orchidee, aber Richter ist ein etwas edlerer Kürbis.
Die Russen neigen zum Kulturdrill.
Wär:s ein Wunder bei der unaufgearbeiteten stalinistischen Vergangenheit?
😂😂😂
Richter somewhat uninspired IMO!
The first Impromptu in G flat played by far too slow - I prefer the Horowitz 'too-slow-version' from the eightees quite clearly. Even the second Impromptu seems a bit boring to me, faithfulness to the score but poor dynamics, the scales and passages like finger exercises, not very convincing! - Finally the third one in A flat sounds the same, stirile and not very inspired again. He seems to be better in the composer's Sonatas obviously, most of them are played truly wonderful by Richter.
I am rather disappointed!
I actually agree
oh really ? becouse you were not so inpired and that 's a pity
not because but perhaps, sorry berlinzerberus, I am not English
I like the first impromptu very much, just listened to it. The dynamics and rubato are muted, yes - but I find that can sometimes be more powerful than a more sensitive, musical interpretation. Richter is speaking - and sometimes the most profound words search deeper said in a simpler, 'flatter', way. Consider Brando's 'I could have been a contender' monologue delivered by Lawrence Olivier - better, worse or just different? Some days I want Horowitz, some days Richter. Some days Gould, some days Schiff. And the same pianist who can play so expressively, sometimes playing rhythmically, cleanly and with very sparing emotion can move the most. It's so subjective anyway, who knows what it's about! :-)
Slava is trying to copy Sofronitsky's mesmerizing interpretation. Like Sofronitsky, he plays the piece in G rather than G flat.