Mozart: Piano Sonatas K. 310, K. 533 & K. 545 by Sviatoslav Richter 🎧 Qobuz (Hi-Res) bit.ly/3LPswC7 Apple Music (Lossless) apple.co/46EBPN9 🎧 Deezer (Hi-Fi) bit.ly/46CvTEE Tidal (Hi-Fi) bit.ly/3rJWAbt 🎧 Amazon Music (Hi-Fi) amzn.to/48ItSIE Spotify (mp3) spoti.fi/3rNlOFU 🎧 Idagio (Hi-Fi) (soon) RUclips Music (mp4) bit.ly/3Q3kFn7 🎧 Naspter, Pandora, Anghami, Soundcloud, QQ音乐, LineMusic, AWA日本… Wolfgang Amadeus Mozart (1756-1791) Recital by Sviatoslav Richter Piano Sonata No. 8 in A minor, K. 310 00:00 I. Allegro Maestoso 08:00 II. Andante Cantabile Con Espressione 16:06 III. Presto Piano Sonata No. 15 in F Major, K. 533 19:12 I. Allegro 29:27 II. Andante 45:11 III. Rondo: Allegretto, K. 494 Piano Sonata No. 16 in C Major, K. 545 "Sonata Semplice" 51:14 I. Allegro 55:32 II. Andante 1:01:13 III. Rondo: Allegretto Piano: Sviatoslav Richter Live in 1956, at Prague Spring Festival New mastering in 2023 by AB for CMRR 🔊 Discover our new website: www.classicalmusicreference.com/ 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr ❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr The 1956 Prague Spring Festival season witnessed two anniversaries. It was in that year that the event reached its tenth edition. Established shortly after the Second World War, in May 1946, it embodied aspirations to the blossoming of cultural life in liberated Czechoslovakia. Despite the ensuing turmoil which afflicted the arts and society as a whole, Prague Spring did live to complete its first decade as a festival of international standing. The other anniversary belonged to Wolfgang Amadeus Mozart, 1956 marking 200 years since his birth. On 27th January the entire civilized world reacalled the memorable day, and throughout the following year music-loves focused much of their interest on Mozart's legacy. Mozart's well-known links to Prague, involving friendly ties with local musicians and a general atmosphere of understanding for his art characteristic for that city, were elements determining the programme of Prague Spring in 1956. It was drawn up to include not only works by the great Viennese Master himself, but also compositions by his minor contemporaries. In fact, that particular Mozartian anniversary eventually brought to light several names of early Czech composers that had been long forgotten. Even the festival's traditional inauguration was altered to fall in tune with the jubilee. Apart from the usual opening concert featuring Smetana's My Country, which took place duly on 11th May and was billed as "introductory night", the festival was officially inaugurated on the following day by Mozart's music. The Czech Philharmonic Orchestra played his works written explicitly for Prague or otherwise related to the city. Another of the concerts dedicated to the anniversary was given at the very close of the festival by Sviatoslav Richter. It was his third appearance at Prague Spring, and the public's expectations of an extraordinary night were fully justified. Throngs of admirers flooded the Smetana Hall on 1st June, 1956, notwithstanding the fact that the programme, consisting exclusively of Mozart's piano works, had been generally regarded as rather unrewarding for the performer and lacking in attractiveness, audience-wise. Richter was then 42 and his firmly set robust style of piano playing was commonly considered to be far removed from Mozart's music. The delicate structure of Mozart' sonatas seemed somehow ill-suited for Richter's big hands with their enormous span. Actually, up till then Mozart had been a rare item indeed in Richter's repertoire. Thus to Sviatoslav Richter, too, the Mozart anniversary season provided an impulse for testing a new facet of his art: one which did not require of him to put into play all of the means that were at his disposal, but rather to limit their scope to a degree corresponding with the subtle nature of rococo music. In his 1956 Prague Spring concert, Richter played four piano works by Mozart; the Sonata No. 8 in A minor, K 310; the Allegro and Andante No. 14, K 533; the Rondo No. 8 in F major, K 494; and the Sonata No. 15 in C major, K 545. The mid-1950s saw the onset of historicism in the approach to interpreting Mozart's piano output, calling for high speeds, stern terraced dynamics with sharp contrasts, and the harpsichord touch. Richter would have none of this. Instead, he chose moderate speeds, a lower overall dynamic level which assigned a chamber style to his reading, and a lighter sound pattern. Within this framework, though, he took every opportunity offered him by the modern piano and present-day musical feeling. On the whole, Richter's Mozart is unostentatiously melancholic rather than playful and naively joyous as would have been dictated by the established rococo norms. Richter's recording of Mozart are a rare commodity. The one he made in Prague is invaluable for its priceless documentary value coupled with that very special air of artistic individuality it exudes. It is described most fittingly by the words with which one of Ferenc Liszt's female admirers eulogized his play: Try it after him and nothing will remain; the will have vanished. Beethoven: Piano Sonatas Op. 109, 110, 111 by Sviatoslav Richter 🎧 Qobuz (Hi-Res) bit.ly/35mManj Apple Music (Lossless) apple.co/3LmsWNU 🎧 Deezer (Hi-Fi) bit.ly/3vE45Af Tidal (Hi-Fi) bit.ly/3sGlBSJ 🎧 Amazon Music (Hi-Fi) amzn.to/34dbZFJ Spotify (mp3) spoti.fi/3MirfCt 🎧 Idagio (Hi-Fi) (soon) RUclips Music (mp4) bit.ly/48J5MxM 🎧 Naspter, Pandora, Anghami, Soundcloud, QQ音乐, LineMusic, AWA日本… Wolfgang Amadeus Mozart Playlist (reference recordings): ruclips.net/video/gIgg_QUVV04/видео.html
Svialosov Richter was one of greatest pianists ever. Bravo 👏 👏 👏 Thank you, for this luminous artistry of his playing of the legendary composer Mozart. 🙏❤️🌍🎼🎹🎵🎶🎶
The 1956 Prague Spring Festival season witnessed two anniversaries. It was in that year that the event reached its tenth edition. Established shortly after the Second World War, in May 1946, it embodied aspirations to the blossoming of cultural life in liberated Czechoslovakia. Despite the ensuing turmoil which afflicted the arts and society as a whole, Prague Spring did live to complete its first decade as a festival of international standing. The other anniversary belonged to Wolfgang Amadeus Mozart, 1956 marking 200 years since his birth. On 27th January the entire civilized world reacalled the memorable day, and throughout the following year music-loves focused much of their interest on Mozart's legacy. Mozart's well-known links to Prague, involving friendly ties with local musicians and a general atmosphere of understanding for his art characteristic for that city, were elements determining the programme of Prague Spring in 1956. It was drawn up to include not only works by the great Viennese Master himself, but also compositions by his minor contemporaries. In fact, that particular Mozartian anniversary eventually brought to light several names of early Czech composers that had been long forgotten. Even the festival's traditional inauguration was altered to fall in tune with the jubilee. Apart from the usual opening concert featuring Smetana's My Country, which took place duly on 11th May and was billed as "introductory night", the festival was officially inaugurated on the following day by Mozart's music. The Czech Philharmonic Orchestra played his works written explicitly for Prague or otherwise related to the city. Another of the concerts dedicated to the anniversary was given at the very close of the festival by Sviatoslav Richter. It was his third appearance at Prague Spring, and the public's expectations of an extraordinary night were fully justified. Throngs of admirers flooded the Smetana Hall on 1st June, 1956, notwithstanding the fact that the programme, consisting exclusively of Mozart's piano works, had been generally regarded as rather unrewarding for the performer and lacking in attractiveness, audience-wise. Richter was then 42 and his firmly set robust style of piano playing was commonly considered to be far removed from Mozart's music. The delicate structure of Mozart' sonatas seemed somehow ill-suited for Richter's big hands with their enormous span. Actually, up till then Mozart had been a rare item indeed in Richter's repertoire. Thus to Sviatoslav Richter, too, the Mozart anniversary season provided an impulse for testing a new facet of his art: one which did not require of him to put into play all of the means that were at his disposal, but rather to limit their scope to a degree corresponding with the subtle nature of rococo music. In his 1956 Prague Spring concert, Richter played four piano works by Mozart; the Sonata No. 8 in A minor, K 310; the Allegro and Andante No. 14, K 533; the Rondo No. 8 in F major, K 494; and the Sonata No. 15 in C major, K 545. The mid-1950s saw the onset of historicism in the approach to interpreting Mozart's piano output, calling for high speeds, stern terraced dynamics with sharp contrasts, and the harpsichord touch. Richter would have none of this. Instead, he chose moderate speeds, a lower overall dynamic level which assigned a chamber style to his reading, and a lighter sound pattern. Within this framework, though, he took every opportunity offered him by the modern piano and present-day musical feeling. On the whole, Richter's Mozart is unostentatiously melancholic rather than playful and naively joyous as would have been dictated by the established rococo norms. Richter's recording of Mozart are a rare commodity. The one he made in Prague is invaluable for its priceless documentary value coupled with that very special air of artistic individuality it exudes. It is described most fittingly by the words with which one of Ferenc Liszt's female admirers eulogized his play: Try it after him and nothing will remain; the will have vanished. 🔊 Discover our new website: www.classicalmusicreference.com/ 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr ❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
The description "unostentatiously melancholic" is perfect. In playing Mozart's sonatas in this way, Richter captured something essential and true about Mozart. Thank you very much.
Wunderschöne live Aufführung dieser drei perfekt komponierten Klaviersonaten im lebhaften Tempo mit präzisem doch warmherzigem Anschlag und mit perfekt kontrollierter Dynamik. Zweifellos einer der zehn besten Pianisten im 20. Jahrhundert! Die verbesserte Tonqualität ist auch erstaunlich hoch als eine live Aufnahme von siebenundsechzig Jahren vor. Alles ist wunderbar!
Piano Sonata No. 8 in A minor, K. 310 00:00 I. Allegro Maestoso 08:00 II. Andante Cantabile Con Espressione 16:06 III. Presto Piano Sonata No. 15 in F Major, K. 533 19:12 I. Allegro 29:27 II. Andante 45:11 III. Rondo: Allegretto, K. 494 Piano Sonata No. 16 in C Major, K. 545 "Sonata Semplice" 51:14 I. Allegro 55:32 II. Andante 1:01:13 III. Rondo: Allegretto
Even though you say that Richter did not enter the historical approach to Mozart, it does sound as if he played on a pianoforte. It might be a bad quality of the recording, but I don't think so.
I too am surprised that wasn't mentioned. The pianoforte gives it a specially melancholy emphasis, i find. Very special recording. Thank you Reference recording!
I may be mistaken but this does not sound like a modern piano - more like an historic instrument or replica from Mozart's time. The sonority does not sound like the modern piano. Does anyone concur?
Mozart: Piano Sonatas K. 310, K. 533 & K. 545 by Sviatoslav Richter
🎧 Qobuz (Hi-Res) bit.ly/3LPswC7 Apple Music (Lossless) apple.co/46EBPN9
🎧 Deezer (Hi-Fi) bit.ly/46CvTEE Tidal (Hi-Fi) bit.ly/3rJWAbt
🎧 Amazon Music (Hi-Fi) amzn.to/48ItSIE Spotify (mp3) spoti.fi/3rNlOFU
🎧 Idagio (Hi-Fi) (soon) RUclips Music (mp4) bit.ly/3Q3kFn7
🎧 Naspter, Pandora, Anghami, Soundcloud, QQ音乐, LineMusic, AWA日本…
Wolfgang Amadeus Mozart (1756-1791) Recital by Sviatoslav Richter
Piano Sonata No. 8 in A minor, K. 310
00:00 I. Allegro Maestoso
08:00 II. Andante Cantabile Con Espressione
16:06 III. Presto
Piano Sonata No. 15 in F Major, K. 533
19:12 I. Allegro
29:27 II. Andante
45:11 III. Rondo: Allegretto, K. 494
Piano Sonata No. 16 in C Major, K. 545 "Sonata Semplice"
51:14 I. Allegro
55:32 II. Andante
1:01:13 III. Rondo: Allegretto
Piano: Sviatoslav Richter
Live in 1956, at Prague Spring Festival
New mastering in 2023 by AB for CMRR
🔊 Discover our new website: www.classicalmusicreference.com/
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page.
Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
The 1956 Prague Spring Festival season witnessed two anniversaries. It was in that year that the event reached its tenth edition. Established shortly after the Second World War, in May 1946, it embodied aspirations to the blossoming of cultural life in liberated Czechoslovakia. Despite the ensuing turmoil which afflicted the arts and society as a whole, Prague Spring did live to complete its first decade as a festival of international standing. The other anniversary belonged to Wolfgang Amadeus Mozart, 1956 marking 200 years since his birth. On 27th January the entire civilized world reacalled the memorable day, and throughout the following year music-loves focused much of their interest on Mozart's legacy.
Mozart's well-known links to Prague, involving friendly ties with local musicians and a general atmosphere of understanding for his art characteristic for that city, were elements determining the programme of Prague Spring in 1956. It was drawn up to include not only works by the great Viennese Master himself, but also compositions by his minor contemporaries. In fact, that particular Mozartian anniversary eventually brought to light several names of early Czech composers that had been long forgotten. Even the festival's traditional inauguration was altered to fall in tune with the jubilee. Apart from the usual opening concert featuring Smetana's My Country, which took place duly on 11th May and was billed as "introductory night", the festival was officially inaugurated on the following day by Mozart's music. The Czech Philharmonic Orchestra played his works written explicitly for Prague or otherwise related to the city.
Another of the concerts dedicated to the anniversary was given at the very close of the festival by Sviatoslav Richter. It was his third appearance at Prague Spring, and the public's expectations of an extraordinary night were fully justified. Throngs of admirers flooded the Smetana Hall on 1st June, 1956, notwithstanding the fact that the programme, consisting exclusively of Mozart's piano works, had been generally regarded as rather unrewarding for the performer and lacking in attractiveness, audience-wise. Richter was then 42 and his firmly set robust style of piano playing was commonly considered to be far removed from Mozart's music. The delicate structure of Mozart' sonatas seemed somehow ill-suited for Richter's big hands with their enormous span. Actually, up till then Mozart had been a rare item indeed in Richter's repertoire. Thus to Sviatoslav Richter, too, the Mozart anniversary season provided an impulse for testing a new facet of his art: one which did not require of him to put into play all of the means that were at his disposal, but rather to limit their scope to a degree corresponding with the subtle nature of rococo music.
In his 1956 Prague Spring concert, Richter played four piano works by Mozart; the Sonata No. 8 in A minor, K 310; the Allegro and Andante No. 14, K 533; the Rondo No. 8 in F major, K 494; and the Sonata No. 15 in C major, K 545. The mid-1950s saw the onset of historicism in the approach to interpreting Mozart's piano output, calling for high speeds, stern terraced dynamics with sharp contrasts, and the harpsichord touch. Richter would have none of this. Instead, he chose moderate speeds, a lower overall dynamic level which assigned a chamber style to his reading, and a lighter sound pattern. Within this framework, though, he took every opportunity offered him by the modern piano and present-day musical feeling. On the whole, Richter's Mozart is unostentatiously melancholic rather than playful and naively joyous as would have been dictated by the established rococo norms. Richter's recording of Mozart are a rare commodity. The one he made in Prague is invaluable for its priceless documentary value coupled with that very special air of artistic individuality it exudes. It is described most fittingly by the words with which one of Ferenc Liszt's female admirers eulogized his play: Try it after him and nothing will remain; the will have vanished.
Beethoven: Piano Sonatas Op. 109, 110, 111 by Sviatoslav Richter
🎧 Qobuz (Hi-Res) bit.ly/35mManj Apple Music (Lossless) apple.co/3LmsWNU
🎧 Deezer (Hi-Fi) bit.ly/3vE45Af Tidal (Hi-Fi) bit.ly/3sGlBSJ
🎧 Amazon Music (Hi-Fi) amzn.to/34dbZFJ Spotify (mp3) spoti.fi/3MirfCt
🎧 Idagio (Hi-Fi) (soon) RUclips Music (mp4) bit.ly/48J5MxM
🎧 Naspter, Pandora, Anghami, Soundcloud, QQ音乐, LineMusic, AWA日本…
Wolfgang Amadeus Mozart Playlist (reference recordings): ruclips.net/video/gIgg_QUVV04/видео.html
Svialosov Richter was one of greatest pianists ever.
Bravo 👏 👏 👏
Thank you, for this luminous artistry of his playing of the legendary composer Mozart.
🙏❤️🌍🎼🎹🎵🎶🎶
The 1956 Prague Spring Festival season witnessed two anniversaries. It was in that year that the event reached its tenth edition. Established shortly after the Second World War, in May 1946, it embodied aspirations to the blossoming of cultural life in liberated Czechoslovakia. Despite the ensuing turmoil which afflicted the arts and society as a whole, Prague Spring did live to complete its first decade as a festival of international standing. The other anniversary belonged to Wolfgang Amadeus Mozart, 1956 marking 200 years since his birth. On 27th January the entire civilized world reacalled the memorable day, and throughout the following year music-loves focused much of their interest on Mozart's legacy.
Mozart's well-known links to Prague, involving friendly ties with local musicians and a general atmosphere of understanding for his art characteristic for that city, were elements determining the programme of Prague Spring in 1956. It was drawn up to include not only works by the great Viennese Master himself, but also compositions by his minor contemporaries. In fact, that particular Mozartian anniversary eventually brought to light several names of early Czech composers that had been long forgotten. Even the festival's traditional inauguration was altered to fall in tune with the jubilee. Apart from the usual opening concert featuring Smetana's My Country, which took place duly on 11th May and was billed as "introductory night", the festival was officially inaugurated on the following day by Mozart's music. The Czech Philharmonic Orchestra played his works written explicitly for Prague or otherwise related to the city.
Another of the concerts dedicated to the anniversary was given at the very close of the festival by Sviatoslav Richter. It was his third appearance at Prague Spring, and the public's expectations of an extraordinary night were fully justified. Throngs of admirers flooded the Smetana Hall on 1st June, 1956, notwithstanding the fact that the programme, consisting exclusively of Mozart's piano works, had been generally regarded as rather unrewarding for the performer and lacking in attractiveness, audience-wise. Richter was then 42 and his firmly set robust style of piano playing was commonly considered to be far removed from Mozart's music. The delicate structure of Mozart' sonatas seemed somehow ill-suited for Richter's big hands with their enormous span. Actually, up till then Mozart had been a rare item indeed in Richter's repertoire. Thus to Sviatoslav Richter, too, the Mozart anniversary season provided an impulse for testing a new facet of his art: one which did not require of him to put into play all of the means that were at his disposal, but rather to limit their scope to a degree corresponding with the subtle nature of rococo music.
In his 1956 Prague Spring concert, Richter played four piano works by Mozart; the Sonata No. 8 in A minor, K 310; the Allegro and Andante No. 14, K 533; the Rondo No. 8 in F major, K 494; and the Sonata No. 15 in C major, K 545. The mid-1950s saw the onset of historicism in the approach to interpreting Mozart's piano output, calling for high speeds, stern terraced dynamics with sharp contrasts, and the harpsichord touch. Richter would have none of this. Instead, he chose moderate speeds, a lower overall dynamic level which assigned a chamber style to his reading, and a lighter sound pattern. Within this framework, though, he took every opportunity offered him by the modern piano and present-day musical feeling. On the whole, Richter's Mozart is unostentatiously melancholic rather than playful and naively joyous as would have been dictated by the established rococo norms. Richter's recording of Mozart are a rare commodity. The one he made in Prague is invaluable for its priceless documentary value coupled with that very special air of artistic individuality it exudes. It is described most fittingly by the words with which one of Ferenc Liszt's female admirers eulogized his play: Try it after him and nothing will remain; the will have vanished.
🔊 Discover our new website: www.classicalmusicreference.com/
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page.
Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
Greater than Great.....the GREATEST! BRAVO from Acapulco!
The description "unostentatiously melancholic" is perfect. In playing Mozart's sonatas in this way, Richter captured something essential and true about Mozart. Thank you very much.
Richter's touch is sublime
Wunderschöne live Aufführung dieser drei perfekt komponierten Klaviersonaten im lebhaften Tempo mit präzisem doch warmherzigem Anschlag und mit perfekt kontrollierter Dynamik. Zweifellos einer der zehn besten Pianisten im 20. Jahrhundert! Die verbesserte Tonqualität ist auch erstaunlich hoch als eine live Aufnahme von siebenundsechzig Jahren vor. Alles ist wunderbar!
Immer ein Vergnügen, Sie zu lesen
오늘도 감사합니다❤
Un toucher magnifique, une compréhension unique de ce qu'un piano peut offrir en termes de force et de clarté : Richter dans toute sa grandeur.
Love Mozart ❤️❤️❤️🙏🏻😊 🎶 🎶🎶 thank you
Have a beautiful day
Два гения - Моцарт и Рихтер! ❤❤❤
Crazy good. TY
Sonata K. 533/K. 494. Sviatoslav Richter (b. 1915) was 41 in 1956. Richter played three piano sonatas by Mozart (K. 310, K. 533/K.494 and K. 545).
Grandioso Richter! Gracias♥
Piano Sonata No. 8 in A minor, K. 310
00:00 I. Allegro Maestoso
08:00 II. Andante Cantabile Con Espressione
16:06 III. Presto
Piano Sonata No. 15 in F Major, K. 533
19:12 I. Allegro
29:27 II. Andante
45:11 III. Rondo: Allegretto, K. 494
Piano Sonata No. 16 in C Major, K. 545 "Sonata Semplice"
51:14 I. Allegro
55:32 II. Andante
1:01:13 III. Rondo: Allegretto
Superhuman ❤🎉
Even though you say that Richter did not enter the historical approach to Mozart, it does sound as if he played on a pianoforte. It might be a bad quality of the recording, but I don't think so.
I too am surprised that wasn't mentioned. The pianoforte gives it a specially melancholy emphasis, i find. Very special recording. Thank you Reference recording!
Wonderful playing of K310, BUT one problem: we have Lipatti on record playing it!
👍🏼
Great rec. Thanks for sharing it.
❤❤❤
❤🎉……
Quentin Tarantino should be cast in any Richter biographical movie.
Definitely haha
haha :)
😁😁😁
I may be mistaken but this does not sound like a modern piano - more like an historic instrument or replica from Mozart's time.
The sonority does not sound like the modern piano. Does anyone concur?
I think it is a steinway. The piano has the characteristic steinway sound.
Звуковоспроизведение в записи не понравилось ,дребезжащий и стучащий эффект .Игра Рихтера ,как всегда - эталон !
публика плохо себя ведет,шум постоянно!?🙉
🙂 *PromoSM*
Trump yelling about god 😂