Yes, the best opus 17 playing ever. Not just the melodic lines but the restraint and the balance of dynamics. Especially in the last movement. It is ghostly, other-worldly, impossible to believe that a human being conjured it. Pure magic. Can be done only if the music is inside the pianist. Richter doesn't play this piece. He emits it.
Concordo pienamente con lei. Richter suona con equilibrio, la musica gli viene da dentro e produce un suono bellissimo. Non si concede mai a facili sentimentalismi , come altri grandi a volte fanno, e non è mai freddo .
I wasn't expecting it to be THIS good. It's easily one of the best performances I've ever heard. The 3rd movement is so beautiful. Schumann wrote such great piano music and this Fantasie might be his best of all. Extraordinary in every way.
Perahia 1986 New York, Arrau 1966. Also noteworthy is a peculiar interpretation by Radu Lupu 1994, and Bernhard Ruchti's _a tempo_ version is very instructive. I just heard Argerich 1966 with this and I think she should have played something else instead.
Of course great, but try also Arrau and Martha Argerich. Her record lied on my record player for one year when I was 17. And don´t forget Wilheim Kempff!
I can even think this piece as fast as he plays the opening first few bars, yet it also is so sublimely beautiful. Just incredibly unbelievable playing. Richter's tone, huge dynamic range, and wonderful sense of line make him shine among the rest! ❤ RIP to the legendary musician that was Sviatoslav Richter!
Vous avez raison. Mais avez-vous remarqué que tout ce qui précède annonce déjà cet infinie lumière ? Le miracle Richter c'est que toute l'œuvre est dans chaque note et ENTRE chaque note...
@@jean-mariedethier5495 tout à fait ! :-) Ce ne serait pas la même chose si on écoutait que les dernières mesures, voire le dernier mouvement, il y a toute une préparation - définitivement cachée - qui fait que à un moment donné on pleure tel qu'un enfant et on sait pas pourquoi.
Vielleich die schwierigste Interpretationsaufgabe! Gefühlvoll und doch stets einfach und aufrichtig. Bei jedem Anhören ein anderer Eindruck. Die meisten Übergänge sehr überzeugend.
Whenever I hear Richter in a work by Schumann which I think I know well, he scrapes off old varnish and I find unexpected illumination. And so it is here. His prodigious technique enables him to focus on everything else.
I agree with the comments below. What I think amazing is the transparency in the musical texture, the soft singing tone in the upper melody, the respect of the inner voices, the maintainance of a lyric legato, the audacious understanding of the rythme. This is the result of a genious pianist, I humbly bow in front of him and deeply thank him for existing.
Definitely my preferred version. I have herd it sound unbearably dreary, (can you believe that?!) How can anyone do that to such immensely passionate music. This gets to the depth of Schumann's pain and passion
Ein wirklicher Könner! Der Klang ist Märchenhaft, die Tempo-Problematik sehr passend angegangen, und der Schluss des 2. Satzes ist niemandem besser gelungen, auch heute noch. Die meisten (sehr viele grosse Pianisten dabei) schaffen kein accelerando und auch so spielen sie nicht fehlerfrei. Und wenn doch, dann ist die Agogik und Phrasierung der Oberstimmer nicht da und es klingt wie Etude. Richter hat es wirklich vorgemacht. Es ist eine Lektion, wie man dieses werk spielen soll, wie man Schumann spielen soll, wie man Klavier spielen soll. BRAVO!
Es ist herrlich so einen Kommentar lesen zu dürfen, der beweist, dass es in der Menschenmasse welche Individuen noch gibt, die noch richtig und tief hören können. Danke sehr!
There is so much in this music that is almost painfully poetic - visionary, maybe? - and this quality is what I hear only in Richter's playing of it. Thank you very much for sharing this.
Sublime playing. A most wonderful 19thC piano piece, played by a most wonderful 20thC pianist. Richter seems to understand Schumann's passion, and draws it out in gorgeous legato handwork. Thank you for posting this. [And thank you for all your fine postings.]
Echt fantastische Aufführung dieser fantastischen Fantasie! Richter spielt das Klavier mit perfekter Kontrolle und angeborener Lyrik, als ob es ein Teil seines Körpers wäre. Einfach wunderbar!
Wenn du deinen Kommentar zur vorliegenden Interpretation vergleichst mit dem etwas weiter oben von vladibaby79, kannst du sehen, was in jedem deiner Beiträge fehlt: Inhalt. Pardon, das musste mal gesagt werden.
Conocí la Fantasía Op.17 de Schumann a los 16 años, precisamente en esta sublime versión de Sviatoslav Richter. Tengo 69, he oído decenas de versiones de esta obra maravillosa, en concierto y en grabaciones de los más grandes pianista, y ninguna se acerca a ésta, quizá Kissing o Argerich podrían compararse, pero jamás superar la de Richter.No en vano Sviatoslav Richter fue y será el más grande pianista de todos los tiempos.
Un grand merci à sviatoslav. Il nous transporte dans un monde merveilleux de paix, de lumières exquises . Il sublime la passion. Le chaos disparaît. C'est la Beauté . C'est l'humanité. Merci aussi à Schumann et au metteur en ligne.
La verdadera belleza de ésta obra es precisamente la diferente expresión de los que la interpretan. Es legítimo tener un favorito. También es posible que Horowitz y Richter dejaron calificaciones muy difíciles de igualar- superar, imposible-. En la ejecución de ésta pieza Kissin y Argerich no se quedan atrás. Recomiendo a un joven moderno: Alexander Moutouskine. Schumann compuso para pianistas extraordinarios. La sonata N° 1 es otro ejemplo equivalente a ésta fantasía
The greatest pianist of all time...🎹 and he carried that responsibility with great dignity...😊 ... always playing a new work at each recital...and eventually giving concerts playing from the printed score,so as not to disappoint his adoring, loyal and devoted fans! What a guy...!😊😋
Sorry, but there can be no such thing as a "best version". Much as I've always admired Richter, and much as I admire this performance, I'm also very happy to listen to Yeol Eum Son, who uses her prodigious technique to produce an equally singing tone and gorgeous melodic lines, but without ever letting the music sag (as happens occasionally here). Is hers a better performance? Who can say, but I never tire of listening to it, and to me it's preferable to most other versions I've heard.
@@ravenstrobe I fact you are right. This notion of "best version" mises up objective ans subjective criteraia. In fact, it is a pollution of aesthetic vocabulary by the commercial one. If we are honest with ourselves, after some thoughts, we should acknowledge that for us this notion of 'best' version is linked to a bunch of objective and subjective criteria thzt re^renent mainy ourselves.
@@gerardbegni2806 I'm very happy to agree with you! We can all have our own 'best' versions, and it's often possible to like different versions for different reasons. (In the case of Yeol Eum Son, for example - which I'm sure you would admire - I love that she plays Schumann's original ending, which brings the whole Fantasie 'full circle' in a very satisfactory way.)
Been listening lately to playing of the fabulous pianist Vladimir Sofronitski using his private and very unique instrument pre WW2 Bechtstein, which also Richter queued for to play with, as many other Soviet pianist, incl. Emil Gilels. But his playing is in Schumann Fantasy some strange way fragmentary and without needed drive. What Richter posses. Strange celestial brew.
Сейчас прослушала Юдину. Какое разное прочтение. Выбираю Рихтера. Невероятный, умный, тонкий, стильный Рихтер. Фантазия Шумана в его исполнении - настоящее сокровище.
A masterpiece. My preferred version has been Kempff's. There used to be an LP of it in Cardiff Library. Kempff seemed to make the last movement last for ever. And I'm not complaining!
Best interpretation of a masterpiece like this. My favorite is the 2nd movement I'm in love with those chords at the beginning its sounds so brilliant and magnficent ❤
Once, for the now defunct "Rough Guide to Classical Music on CD" I had to wallow through all known performances of this great and young and visionary work. In the end the editor, one Joe Staines, bulldozed my hard work and damn hard thinking in favour of a horror of turgid mannerism by Pogorelich. I nearly walked out. Enough of griping. Horowitz at Carnegie hall? A definite contender - as are a few others, from Benno Moiseiwich onwards. But Richter in his fusion of introspection and verve is the one and only - and I say that as one who avoids sweeping superlatives like a plague. I wish this had been around when I did my donkey work. And the Penguin Record Guide agrees with me!
My aunt, being a pianist herself, was deeply in love with Horowitz( as a pianist, of course), She loved Gilels and hated Pogorelich. I feel the same about pompous Khatia and Yuja.
Man könnte leicht zwanzig nennen neben Richter. Es ist der dumme menschliche Verstand, der auf e i n e n besteht, an dem er sich festklammern kann, und dank dem er sich selbst großzügig gestattet, andere gar nicht erst kennenzulernen, was ein Urteil ja eigentlich erst möglich machte. Ich darf so reden, weil ich mich selbst auch geißele damit.
Fantasy means music created outside the usual sonatas structure where music has a developmental process to go through..with the Fantasy music is written not according to laws and structures but is determined by the composer and the art he/she is creating.
C’est plutot Schumann qui opere certe fusion avec le reel dans ses oeuvres . Mais Richter est peut-etre l’ unique pianiste qui a reussit en faire d’une façon irreprochable.
R.Schumann Fantasy Op.17 Die Stuecke wurde im Jahre 1836 der 27-jährige Alters Schumann. Obwohl zunächst angebracht Diakon symbolisiert das Leben Beethovens Kompositionen, mit dem Titel, Verlag und verwandelte sich in ein Gedenkprojekt mit dem Namen Fantasie Beethoven Es ist zu Liszt gewidmet. Der erste Satz ist ein "must eine gleichbleibend fantastisch und leidenschaftliche Gefühl zu spielen, langsam Das erste Thema dominiert die gesamte erste Satz. Der zweite Satz ist sehr Ferse gegen die Kraft zusammen mit einer Beschreibung des Endes 'leidenschaftlich wie "von Anfang an, wurde effektiv mit der Behandlung Bock Code des Fortschritts kombiniert. Der dritte Satz ist ruhig Beendigung der Song hat eine Beschreibung wie eine gemütliche Atmosphäre mit einer poetischen Phantasie "spielen langsam". Ich übe und sieht die beste, weil wir lassen viele Sorgen.
Arrau was not on the same level, a great master, indeed, but some of his performances were uneven, lackluster, and the span of his repertoire was much smaller. There was no other pianist, who possessed such a huge repertoire, as Richter. His study of each composition was extensive and complete. We can prefer our own favorites, there is nothing wrong with it, but we can not generalize that opinion.
@@stonefireice6058While I agree that Richter has a massive repertoire, probably even greater than Arraus, I wouldnt call Arraus small. In fact he was known for his huge repertoire, ranging from baroque to contemporary music. He was a specialist for Beethoven, his sonatas are among the best. He made stupendous recordings of Chopin, wonderful nocturnes. And Liszt of course, his sonata and ballades are so thoughtful. Schumann he did aswell masterfully and the french composers, Ravel and Debussy. He recorded the Mozart sonatas aswell, though I must say that I am not that familiar with them. You can call the repertoire of other pianist small, Michelangeli comes to mind, but Arrau just plays everything well.
I didn't rush to hear Richter because I didn't think he had the range and depth of expression required. I greatly admire him in chamber music and concerti, and know him to be technically one of the best, but never credited him with sublime subtlety. I did him a disservice ! If Horowitz is almost exclusively Florestan, Richter fuses the bipolar extremes of Florestan and Eusebius almost to perfection. He has a clear overall vision of the work, unlike many others, and particularly draws out the sense of horizontal line, sometimes subduing chords over the top to emphasise the theme, such as in bars 38 & 39 of 1st mvmnt., even though there's an accent. He has a tendency to extremes of tempo, which means Adagios are so slow that the sense of line and continuity is lost because of decay, even in the famous An die ferne Geliebte quote. He also contrives to put in unmarked accelerandi, especially in the 2nd mvmnt., such as in the passage beginning at about bar 26, presumably to heighten the quicksilver effect. But, when he does it in the fiendish Coda, to me it's Richter gratuitously laying down a challenge to any future performer to try to outdo his speed and technique. His Finale Coda is disappointing, too, because the accelerando isn't constant and unrelenting - you can hear where he is pushing it along, often at ends of bars - and the climax isn't volcanic (okay, orgasmic !) as I believe it should be. Here, no one can match Horowitz. But there are many superb aspects to Richter's view; mainly, he doesn't let himself get between Schumann and the listener - he observes the markings generally and avoids strange quirks. For instance, he's the only one I've heard who gives the quaver - at the start of bar 83 (1st mvmnt.) and elsewhere - its full value, and doesn't pedal through the different octaves of the same chord at bar 17 of 2nd mvmnt. and where it recurs. Comparing dynamic range, Horowitz is fortissimo and sforzando too much of the time, particularly in the middle movement, whereas Richter rarely goes beyond forte, which accords with each performer's view of which Schumann personality is dominant in this majestic work. We are so lucky to have works of art like this, performers who can do them justice, RUclips and discerning collectors/uploaders ! Thank you, all.
Nick is inflated with his own verbosity so much that he's lost in the forest 😳. If you enjoy all that banging Horowitz is famous for go for it 😀. And remember what Horowitz said : " There are 3 kinds of pianists, Jewish, Gay and bad." He was all three.
I mean, when it comes to “depth of expression” I have no doubt whatsoever that Richter was the deepest of them all, of any age. He may not have the technique of Hamelin or the reserved aristocracy of Rachmaninoff or the lyricism of Sofronitsky, but he’s the greatest musician-pianist bar none.
Anyone interesred in how this gnarly piece is put together should check out the recording by Leonard Shure available on RUclips. Expressive and structural. Hard to beat That said: though Richter's hearing of Op. 17 is not really the way I hear it--lt's mostly very slow-- his is a magnificent, deeply felt, not quite convincing performance wothy of everyone's respect.
At his peak, there was Richter and everyone else. No one could match his depth of tone, nor his nuances of interpretation which he was so skilled in expressing. He epitomized the early and mid-century Russian school of pianism which dominated the world of pianists. It is unfortunate that since that time pianists only seem to be distinguished (or so they think) by the speed with which they can perform a piece in which there is no time for nuance and expression.
Yes, the best opus 17 playing ever. Not just the melodic lines but the restraint and the balance of dynamics. Especially in the last movement. It is ghostly, other-worldly, impossible to believe that a human being conjured it. Pure magic. Can be done only if the music is inside the pianist. Richter doesn't play this piece. He emits it.
Concordo pienamente con lei. Richter suona con equilibrio, la musica gli viene da dentro e produce un suono bellissimo. Non si concede mai a facili sentimentalismi , come altri grandi a volte fanno, e non è mai freddo .
Non ci sono parole per descrivere una forte luce che illumina tutto quello che c'è da vedere e sentire
bellissimo commento
Sviatoslav Richter Best Pianist in the world
RIP Genius
I wasn't expecting it to be THIS good. It's easily one of the best performances I've ever heard. The 3rd movement is so beautiful. Schumann wrote such great piano music and this Fantasie might be his best of all. Extraordinary in every way.
Perahia 1986 New York, Arrau 1966. Also noteworthy is a peculiar interpretation by Radu Lupu 1994, and Bernhard Ruchti's _a tempo_ version is very instructive. I just heard Argerich 1966 with this and I think she should have played something else instead.
Probably the Best version I've ever heard..
All his interpretations are amazing. The crazy thing is that he probably learnt this is a week.
His Schumann is unbelievable, especially the Bunte Blätter set.
Yes, undoubtly a great interpretation, but... have You ever heard Maurizio Pollini's interpretation? It's simply amazing...!!!
Of course great, but try also Arrau and Martha Argerich. Her record lied on my record player for one year when I was 17. And don´t forget Wilheim Kempff!
@@thorstentopp3824 Thanks for your good information. I'll try it. ^^~
Simplement admirable. Justesse permettant l'émotion finale, dégagée et comme glorieuse, devant la beauté enfin embrassée de la vie.
Incomparably beautiful performance of Robert Schumann's masterpiece!
I can even think this piece as fast as he plays the opening first few bars, yet it also is so sublimely beautiful. Just incredibly unbelievable playing.
Richter's tone, huge dynamic range, and wonderful sense of line make him shine among the rest! ❤ RIP to the legendary musician that was Sviatoslav Richter!
Sin dudas,exquisita versión, sublime é insuperable.. RICHTER y SCHUMANN! Inolvidables!
Meravigliosa musica, interprete grandissimo..
When the final arpeges arrive, so mild and full of light, my heart flies away...it's a very moment of grace.
These are the moments when heaven opens up to you and God is touching your heart.
Me gusta creer que un pianista logra su plena realización cuando puede tocar asi
Vous avez raison. Mais avez-vous remarqué que tout ce qui précède annonce déjà cet infinie lumière ? Le miracle Richter c'est que toute l'œuvre est dans chaque note et ENTRE chaque note...
@@jean-mariedethier5495 tout à fait ! :-) Ce ne serait pas la même chose si on écoutait que les dernières mesures, voire le dernier mouvement, il y a toute une préparation - définitivement cachée - qui fait que à un moment donné on pleure tel qu'un enfant et on sait pas pourquoi.
@@EmanuelaZucchi Oui, c'est bien cela. Richter va toujours au bout du coeur, là où il n'y a plus que la fusion avec le réel.
Anche per me, forse la miglior interpretazione mai sentita... ‘l’interpretazione’ dell’opera 17!
Vielleich die schwierigste Interpretationsaufgabe! Gefühlvoll und doch stets einfach und aufrichtig. Bei jedem Anhören ein anderer Eindruck. Die meisten Übergänge sehr überzeugend.
Whenever I hear Richter in a work by Schumann which I think I know well, he scrapes off old varnish and I find unexpected illumination. And so it is here. His prodigious technique enables him to focus on everything else.
No one is better than Richter when it comes to Schumann
el tercer movimiento es de otro mundo, no puede explicarse como este mago ruso transciende con su interpretacion todo limite, no words
I agree with the comments below. What I think amazing is the transparency in the musical texture, the soft singing tone in the upper melody, the respect of the inner voices, the maintainance of a lyric legato, the audacious understanding of the rythme. This is the result of a genious pianist, I humbly bow in front of him and deeply thank him for existing.
Cada momento en que lo escucho es como la 1ra.vez. Maravilloso é iluminado!. Alguna duda? El mejor pianista del siglo XX. Gracias por existir!
Best interpretation I came across until now.
Eines der schwierigsten Werke bezüglich überzeugenden Übergänge, die den Zusammenhang schaffen. Hier fast immer gelungen.
I am so thankful for this music- a world beyond words
Definitely my preferred version. I have herd it sound unbearably dreary, (can you believe that?!) How can anyone do that to such immensely passionate music. This gets to the depth of Schumann's pain and passion
Richter was a supernova in the pianistic firmament, even a musical mystic, if there is such a thing.
Un verdadero ,privilegio escuchar el genio de Schumann en esta notable interpretación de uno de los más grandes pianistas del siglo XX
...hace muchos años que me familiaricé con la maravillosa interpretación de esta obra por el genial maestro Richter.-Es en mi opinión insuperable
수정 피아노로 연주하는 것 처럼 소리가 영롱하네요. 마음에 슬픔이 몽글 몽글 차 오릅니다~
Der beste Pianist aller Zeiten!
여태동안 들었던 연주 중에서 제일 섬세하네요. 특히 트릴 부분이 이렇게 아름답게 들릴 수 있다는 것을 처음 알았습니다. 담백하고 섬세하고 구체적인 연주네요
What??
Ein wirklicher Könner! Der Klang ist Märchenhaft, die Tempo-Problematik sehr passend angegangen, und der Schluss des 2. Satzes ist niemandem besser gelungen, auch heute noch. Die meisten (sehr viele grosse Pianisten dabei) schaffen kein accelerando und auch so spielen sie nicht fehlerfrei. Und wenn doch, dann ist die Agogik und Phrasierung der Oberstimmer nicht da und es klingt wie Etude. Richter hat es wirklich vorgemacht. Es ist eine Lektion, wie man dieses werk spielen soll, wie man Schumann spielen soll, wie man Klavier spielen soll. BRAVO!
Es ist herrlich so einen Kommentar lesen zu dürfen, der beweist, dass es in der Menschenmasse welche Individuen noch gibt, die noch richtig und tief hören können. Danke sehr!
de schumann!
Sehr genau gehört. Was ist mit Arraus Interpretation? Der macht eigentlich keine Fehler und ist interpretatorisch neben Richter für mich der Beste!
Stunning, amazing performance, so much depth…..
Шуман гениальный композитор и гениальный Рихтер в одном Флаконе!!!
There is so much in this music that is almost painfully poetic - visionary, maybe? - and this quality is what I hear only in Richter's playing of it. Thank you very much for sharing this.
Surely one of the greatest compositions in all piano music. This piece accompains me for more than 35 years.
Only ? Arrau ! Perahia !
the greatest interpretation of the Fantasy in Cmajor, the one and only Richter.
Geza Anda is better !!!!
Try Arrau, also great!
@@thorstentopp3824 Yes, the version on the flip side of the Carnaval Op. 9 he did in [1966?]...that is my current benchmark for this piece.
...totalmente de acuerdo " the greatest"
@@TheHanslick I tried them all have ten versions of this piece.sorry.
The most Splendid rendition ever! ..
Fantastic! Great performance!
Sublime playing. A most wonderful 19thC piano piece, played by a most wonderful 20thC pianist. Richter seems to understand Schumann's passion, and draws it out in gorgeous legato handwork. Thank you for posting this. [And thank you for all your fine postings.]
Richter’s is the definitive interpretation for me when it comes to the great Fantasie in C.
Echt fantastische Aufführung dieser fantastischen Fantasie! Richter spielt das Klavier mit perfekter Kontrolle und angeborener Lyrik, als ob es ein Teil seines Körpers wäre. Einfach wunderbar!
Wenn du deinen Kommentar zur vorliegenden Interpretation vergleichst mit dem etwas weiter oben von
vladibaby79, kannst du sehen, was in jedem deiner Beiträge fehlt: Inhalt. Pardon, das musste mal gesagt werden.
No puedo dejar de escucharlo,cada noche. Fascinante...
Conocí la Fantasía Op.17 de Schumann a los 16 años, precisamente en esta sublime versión de Sviatoslav Richter. Tengo 69, he oído decenas de versiones de esta obra maravillosa, en concierto y en grabaciones de los más grandes pianista, y ninguna se acerca a ésta, quizá Kissing o Argerich podrían compararse, pero jamás superar la de Richter.No en vano Sviatoslav Richter fue y será el más grande pianista de todos los tiempos.
Tengo tu edad y conocí esta versión en un vinilo francés de la voz de su amo y en la otra cara la sonata nº 17 de Beethoven también insuperable.
Un grand merci à sviatoslav. Il nous transporte dans un monde merveilleux de paix, de lumières exquises . Il sublime la passion. Le chaos disparaît. C'est la Beauté . C'est l'humanité. Merci aussi à Schumann et au metteur en ligne.
La mejor version es la de Claudio Arrau...incomparable..!
La verdadera belleza de ésta obra es precisamente la diferente expresión de los que la interpretan. Es legítimo tener un favorito. También es posible que Horowitz y Richter dejaron calificaciones muy difíciles de igualar- superar, imposible-. En la ejecución de ésta pieza Kissin y Argerich no se quedan atrás. Recomiendo a un joven moderno: Alexander Moutouskine. Schumann compuso para pianistas extraordinarios. La sonata N° 1 es otro ejemplo equivalente a ésta fantasía
La mia preferida es la di Firkusny
The greatest pianist of all time...🎹 and he carried that responsibility with great dignity...😊
... always playing a new work at each recital...and eventually giving concerts playing from the printed score,so as not to disappoint his adoring, loyal and devoted fans! What a guy...!😊😋
Un iluminado...!
Elvyn Elvi: prodigious is the appropriate adjective regarding Richter’s TECHNIQUE WOW!!!!!
This is indeed the irrevocable best version of this fantasy in spute of very talented challengers.
Ashkenazy's first recording is even better; Ashkenazy loved the way Richter played this wonderful piece.
Sorry, but there can be no such thing as a "best version". Much as I've always admired Richter, and much as I admire this performance, I'm also very happy to listen to Yeol Eum Son, who uses her prodigious technique to produce an equally singing tone and gorgeous melodic lines, but without ever letting the music sag (as happens occasionally here). Is hers a better performance? Who can say, but I never tire of listening to it, and to me it's preferable to most other versions I've heard.
@@ravenstrobe I fact you are right. This notion of "best version" mises up objective ans subjective criteraia. In fact, it is a pollution of aesthetic vocabulary by the commercial one. If we are honest with ourselves, after some thoughts, we should acknowledge that for us this notion of 'best' version is linked to a bunch of objective and subjective criteria thzt re^renent mainy ourselves.
@@gerardbegni2806 I'm very happy to agree with you! We can all have our own 'best' versions, and it's often possible to like different versions for different reasons. (In the case of Yeol Eum Son, for example - which I'm sure you would admire - I love that she plays Schumann's original ending, which brings the whole Fantasie 'full circle' in a very satisfactory way.)
j'avais dix huit ans , ( service militaire en germanie !) schumann étais mon compagnon !
Esa profundidad incomparable .... Lo sigo descubriendo y. amando.
Tout simplement magique
Been listening lately to playing of the fabulous pianist Vladimir Sofronitski using his private and very unique instrument pre WW2 Bechtstein, which also Richter queued for to play with, as many other Soviet pianist, incl. Emil Gilels. But his playing is in Schumann Fantasy some strange way fragmentary and without needed drive. What Richter posses. Strange celestial brew.
Yeah he was a cheater just like Paderewski.
im here because im completely overwhelmed by Richter's Handel sonatas 😊 ,im a fan now
Сейчас прослушала Юдину. Какое разное прочтение. Выбираю Рихтера. Невероятный, умный, тонкий, стильный Рихтер. Фантазия Шумана в его исполнении - настоящее сокровище.
A transcendental version ........ each musical detail is crafty worked while Richter keeps sensitive to the overarching construction.
thank you !
A masterpiece. My preferred version has been Kempff's. There used to be an LP of it in Cardiff Library. Kempff seemed to make the last movement last for ever. And I'm not complaining!
Thanks so much. Kempff, in the early Sixties, was still a fabulous Schumann player - how we need his recordings back in the public domain!
Yes, "Heavenly length."
Best interpretation of a masterpiece like this. My favorite is the 2nd movement I'm in love with those chords at the beginning its sounds so brilliant and magnficent ❤
Лучшее исполнение фантазии!!!
Once, for the now defunct "Rough Guide to Classical Music on CD" I had to wallow through all known performances of this great and young and visionary work. In the end the editor, one Joe Staines, bulldozed my hard work and damn hard thinking in favour of a horror of turgid mannerism by Pogorelich. I nearly walked out.
Enough of griping. Horowitz at Carnegie hall? A definite contender - as are a few others, from Benno Moiseiwich onwards. But Richter in his fusion of introspection and verve is the one and only - and I say that as one who avoids sweeping superlatives like a plague. I wish this had been around when I did my donkey work. And the Penguin Record Guide agrees with me!
Stephen Jackson Totally agree :)
Just read what I've written above. God, what a bleedin' Prina Donna I am!
@@StephenJackson1958 We all have our moments. Personally, I appreciate your honesty and willingness to be truthful. So... give yourself some slack.
@@StephenJackson1958 HAHAHAHA
My aunt, being a pianist herself, was deeply in love with Horowitz( as a pianist, of course), She loved Gilels and hated Pogorelich. I feel the same about pompous Khatia and Yuja.
Vielleicht das größte Klavierspiel, das im zwanzigsten Jahrhundert stattgefunden hat.
Ja, neben Arrau würde ich da zustimmen. Was meinst du, gibt Daniil Trifonov Hoffnung, da anzuknüpfen? ruclips.net/video/JcFFxvG8pWg/видео.html
Man könnte leicht zwanzig nennen neben Richter. Es ist der dumme menschliche Verstand, der auf e i n e n besteht, an dem er sich festklammern kann, und dank dem er sich selbst großzügig gestattet, andere gar nicht erst kennenzulernen, was ein Urteil ja eigentlich erst möglich machte. Ich darf so reden, weil ich mich selbst auch geißele damit.
@@thorstentopp3824 ja, Trifonov hat heute Abend in Bern/Schweiz gespielt. Vielleicht sogar sentimentaler. Genial!
Сегодня буду слушать Трифонова в Сиэтле! Но трудно себе представить лучшее исполнение,чем -гениального Рихтера.
Рихтер убер алле
I am thankful that this music exists.
Schumann has never composed a piece as good as his fantasy
Kreisleriana, Symphonic Etudes, Op.12 Fantasiestucke and Carnaval are equally as good
Beautiful ! Happy New Year !
richter machts richtig mit schuman
Etwas zwischen Robert Schumann und Sv. Richter; mann soll Es ganz und heil l
lassen. Sache von Respekt !
exquisite and good sound too!
Mind blowing, best version
Fantasy means music created outside the usual sonatas structure where music has a developmental process to go through..with the Fantasy music is written not according to laws and structures but is determined by the composer and the art he/she is creating.
This is the best LP of his works
spettacolare-geniale-unica
I own this recording - best performance of this piece
Beautiful
Richter es de mis favoritos. Para mi gusto Richter toca la mejor versión del 2º concierto para piano de Rachmaninoff
C’est plutot Schumann qui opere certe fusion avec le reel dans ses oeuvres .
Mais Richter est peut-etre l’ unique pianiste qui a reussit en faire d’une façon irreprochable.
Me encanta gran pianista. 💕🙏🇮🇷
Masterpiece 🌟
Это его музыка. Эта музыка для него. Когда Шуман написал её, он не мог знать, что исполнитель её появится на свет только в 1915 году.
R.Schumann Fantasy Op.17
Die Stuecke wurde im Jahre 1836 der 27-jährige Alters Schumann. Obwohl zunächst angebracht Diakon symbolisiert das Leben Beethovens Kompositionen, mit dem Titel, Verlag und verwandelte sich in ein Gedenkprojekt mit dem Namen Fantasie Beethoven Es ist zu Liszt gewidmet.
Der erste Satz ist ein "must eine gleichbleibend fantastisch und leidenschaftliche Gefühl zu spielen, langsam Das erste Thema dominiert die gesamte erste Satz.
Der zweite Satz ist sehr Ferse gegen die Kraft zusammen mit einer Beschreibung des Endes 'leidenschaftlich wie "von Anfang an, wurde effektiv mit der Behandlung Bock Code des Fortschritts kombiniert.
Der dritte Satz ist ruhig Beendigung der Song hat eine Beschreibung wie eine gemütliche Atmosphäre mit einer poetischen Phantasie "spielen langsam". Ich übe und sieht die beste, weil wir lassen viele Sorgen.
Nobody plays better than Richter, there are only few on his level, like Arrau.
Arrau was not on the same level, a great master, indeed, but some of his performances were uneven, lackluster, and the span of his repertoire was much smaller. There was no other pianist, who possessed such a huge repertoire, as Richter. His study of each composition was extensive and complete. We can prefer our own favorites, there is nothing wrong with it, but we can not generalize that opinion.
And Maurizio Pollini
@@stonefireice6058While I agree that Richter has a massive repertoire, probably even greater than Arraus, I wouldnt call Arraus small. In fact he was known for his huge repertoire, ranging from baroque to contemporary music. He was a specialist for Beethoven, his sonatas are among the best. He made stupendous recordings of Chopin, wonderful nocturnes. And Liszt of course, his sonata and ballades are so thoughtful. Schumann he did aswell masterfully and the french composers, Ravel and Debussy. He recorded the Mozart sonatas aswell, though I must say that I am not that familiar with them.
You can call the repertoire of other pianist small, Michelangeli comes to mind, but Arrau just plays everything well.
By far, the best interpretation of this wonder. Schiff would disagree, but that's my taste.
^^깊은 축복을 ...,...
いつか癌になってもう助からないってなった時、モルヒネを打たれた時に苦痛から解き放さされてこの演奏が奏でられる中召せされたい。
16:03からの部分をこのスピードで弾ける人はリヒテルしかいません。さすが巨匠ですね。
정말 얄짤없이 치시는구나. 후아^^
0:00
13:53
20:40
20:00 amazing
とても素晴らしい演奏
Les autres jouent leur version de Schumann. Richter joue Sa version.
I didn't rush to hear Richter because I didn't think he had the range and depth of expression required. I greatly admire him in chamber music and concerti, and know him to be technically one of the best, but never credited him with sublime subtlety. I did him a disservice ! If Horowitz is almost exclusively Florestan, Richter fuses the bipolar extremes of Florestan and Eusebius almost to perfection. He has a clear overall vision of the work, unlike many others, and particularly draws out the sense of horizontal line, sometimes subduing chords over the top to emphasise the theme, such as in bars 38 & 39 of 1st mvmnt., even though there's an accent. He has a tendency to extremes of tempo, which means Adagios are so slow that the sense of line and continuity is lost because of decay, even in the famous An die ferne Geliebte quote. He also contrives to put in unmarked accelerandi, especially in the 2nd mvmnt., such as in the passage beginning at about bar 26, presumably to heighten the quicksilver effect. But, when he does it in the fiendish Coda, to me it's Richter gratuitously laying down a challenge to any future performer to try to outdo his speed and technique. His Finale Coda is disappointing, too, because the accelerando isn't constant and unrelenting - you can hear where he is pushing it along, often at ends of bars - and the climax isn't volcanic (okay, orgasmic !) as I believe it should be. Here, no one can match Horowitz. But there are many superb aspects to Richter's view; mainly, he doesn't let himself get between Schumann and the listener - he observes the markings generally and avoids strange quirks. For instance, he's the only one I've heard who gives the quaver - at the start of bar 83 (1st mvmnt.) and elsewhere - its full value, and doesn't pedal through the different octaves of the same chord at bar 17 of 2nd mvmnt. and where it recurs. Comparing dynamic range, Horowitz is fortissimo and sforzando too much of the time, particularly in the middle movement, whereas Richter rarely goes beyond forte, which accords with each performer's view of which Schumann personality is dominant in this majestic work. We are so lucky to have works of art like this, performers who can do them justice, RUclips and discerning collectors/uploaders ! Thank you, all.
Nick con brio thank you for the time you have taken. Very interesting.
Nick con brio Nick con brio you must not be familair with his schubert. Beyond any depth of expression required.
Hogwash
Nick is inflated with his own verbosity so much that he's lost in the forest 😳. If you enjoy all that banging Horowitz is famous for go for it 😀. And remember what Horowitz said : " There are 3 kinds of pianists, Jewish, Gay and bad." He was all three.
I mean, when it comes to “depth of expression” I have no doubt whatsoever that Richter was the deepest of them all, of any age. He may not have the technique of Hamelin or the reserved aristocracy of Rachmaninoff or the lyricism of Sofronitsky, but he’s the greatest musician-pianist bar none.
Oh wow
Anyone interesred in how this gnarly piece is put together should check out the recording by Leonard Shure available on RUclips. Expressive and structural. Hard to beat That said: though Richter's hearing of Op. 17 is not really the way I hear it--lt's mostly very slow-- his is a magnificent, deeply felt, not quite convincing performance wothy of everyone's respect.
Listen to that whirlpool state of dreaming quality at the beginning
❤
At his peak, there was Richter and everyone else. No one could match his depth of tone, nor his nuances of interpretation which he was so skilled in expressing. He epitomized the early and mid-century Russian school of pianism which dominated the world of pianists. It is unfortunate that since that time pianists only seem to be distinguished (or so they think) by the speed with which they can perform a piece in which there is no time for nuance and expression.
I usually love Richter's playing, but in this piece my favourite is still Maurizio Pollini.
3:40
11:12
20:39
composed 1836, revised 1839
25:20
So hat Daniil Trifonov heute Abend in Bern CH gespielt. Der Saal war fast leer! Sabotiert?! Tragisch!! 😢
Да, последние такты финала...
30:33
eargasm material for sure! I didnt anticipate you here
wait Snorefest???!!!!
リヒテルは、ベートーベンやバッハよりシューマンやシューベルトに向いていると思う。
感情的ぬではなく感性で弾く。
この幻想曲もppの部分が間といいロマンチシズムの極み。
Danae Dörken - Fantasy | CD Promotion
is this a melody
Роберт Шуман
*Фантазия* !
Святослав Теофилович Рихтер 1960 г. ! Лондон !