Brahms's depth and skills never cease to impress me. The 'organic unity' of these variations, crowned by the brilliant Fugue at the end, is an unmistakable signature of genius. Richter's rendition does the work full justice.
Not only is Richter in typical fine form here, but all kudos to the audience for remaining inaudible -- a true miracle for a Richter concert! Thanks so much for posting this rare and special performance! Incidentally, the venue was in deep Siberia of all places, in the city of Krasnoyarsk, through which a great deal of history flowed!
Since the first time I was listening to this work (centuries ago...), I was in love with it. It really is one of Brahms' (numerous) masterworks. I'll always keep in memory the regretted Rudolf Serkin's recording: he was one of the Brahms' piano music greatest specialists.
This performance of the old Richter does not compare with Serkin's in the peak of his powers in the fifties... Serkin himself does not compare with himself at same age Richter was here!
Sviatoslav Richter's performance illuminates the very heart of these variations ... the skeleton of the theme, which allows a lot of transformations, melodic , harmonic and contrapunctal variations.
An admirably rigorous account, for me emphasising the conceptual unity of the piece - perhaps a little at the expense of the individuality of the 'stand-alone' variations and distinctiveness of the variation groupings. The tempo of the fugue is sane and very stable (as one might expect) and the textures admirably lucid. It's most interesting to here Richter in this piece - I wasn't aware that he played it, though it comes as no surprise to discover that he did! Played on a (not-totally-in-tune) Yamaha I think (?)
The stupid concept of "unity of the piece" ..... and the "stability" of the tempi .... what a shit ... Richter is just boring here , have the courage to say it !
@@Fritz_Maisenbacher Richter can't be boring q.q.= qualitate qua, which means for the people who don't understand latin: Because of the qualities of Richter, including his virtuoso and originality he can't be boring. On the contrary he is always surprising!! I think you are boring with your silly comments.
Thanks for sharing. However FYI I have to point out that it seems that the pitch is about a half-tone sharp; if this is due to the original tape shrinking, the tempos would also be sped up by a proportional amount.
emilgilels Thanks for listening. I have absolute pitch, and although it's a bit high, I still hear it as B flat major, not as B major -- it's somewhere "in between"...you can check for yourself with this tool: www.onlinetuningfork.com/
Haha I don't have absolute pitch, but do have good tonal memory. I got this performance into my head as being 'high' and now can't get it out! Perhaps in time I'll 'forget' the pitch and be able to listen more 'objectively'... FYI, in spite of my screen name, I'm much more of a Richterian than a Gilelsian! ;-)
emilgilels I think the diffence is GIlels is so cocerned with sound it doesn t always work musically.Richter is concerned with the score making it ligitamate.
These variations are the first of Brahms's three great triumphs in symphonic variation - the work sets a path to the Haydn variations and the finale of the Fourth Symphony. It is an invitation to the pianist to play, and listen, orchestrally, with an ear to colour. The theme is cleverly chosen to be simple enough to remain perceptible under extreme harmonic and contrapuntal elaborations, yet characterful enough for the listener to hear what it is in the theme that some of the most ambitiously speculative variations are responding to. There is a subtle change of character at the double bar in Handel's Aria that often leads Brahms into deep minor key territory, with mysterious confidential inner voices. It does seem to me that Richter (at least on this occasion) either misses most of this or deliberately steers away from it (perhaps cleaving to paths of Socialist Realism). Take the first variation, where the second half has exactly the same monochrome mood as the first. Or the third variation, where the echoing interplay between the hands is very prosaic and, critically, Richter fails to pass the melody across the interchanges. And so on. All the right notes in the right places, but ultimately disappointing for such a great artist as Richter.
For me this performance is the epitome of "illuminating": I simply didn't get this work until I heard it and thought it was one of Brahms's lesser opuses.
My friends used the opening theme and first variation here as their wedding entrance music, and the last variation as exit music. Perfect. To me, he's in too big a hurry here.
Molto asciutta. Esemplare per tecnica ovviamente, per comprensione ed interpretazione come unicum e non successione di singole variazioni. Ma la sensazione e' che per Richter questa sia musica rispettata ma non amata.
That piano sounded like tin cans. Couldn't a super star such as Richter have a better piano avail for him to record this piece? His playing was excellent, but it could have been so much better on a better piano!!!
I respectfully beg to differ. This piano enables Richter to conjure every shading and dynamic. Richter could be a banger at times but here his tone practically melts. Can it really be a Yamaha?
Richter is my favorite pianist overall but I have to agree with you about the piano sound. And I admire your courage for expressing yourself so fearlessly.
I don't know if it's weak, but I hear what you're saying. This is from the late 80's so he was probably tired. Just imagine him playing this at 43, instead of 73. His best performances are from a time when nobody had even heard of him.
OK . This is right . I would also wish myself to have the chance to hear so many masters before it is too late .... Carlos Kleiber in the Missa Solemnis , for example .... haha ...
Brahms's depth and skills never cease to impress me. The 'organic unity' of these variations, crowned by the brilliant Fugue at the end, is an unmistakable signature of genius.
Richter's rendition does the work full justice.
So very beautiful, this Richter sound and colour. I didn't know about this piece and recording. Thanks Erwin, regards Stefan
Not only is Richter in typical fine form here, but all kudos to the audience for remaining inaudible -- a true miracle for a Richter concert! Thanks so much for posting this rare and special performance! Incidentally, the venue was in deep Siberia of all places, in the city of Krasnoyarsk, through which a great deal of history flowed!
Since the first time I was listening to this work (centuries ago...), I was in love with it. It really is one of Brahms' (numerous) masterworks. I'll always keep in memory the regretted Rudolf Serkin's recording: he was one of the Brahms' piano music greatest specialists.
@Joel Levine R udolf Serkin's is the greatest performance of this.
This performance of the old Richter does not compare with Serkin's in the peak of his powers in the fifties... Serkin himself does not compare with himself at same age Richter was here!
I love Alexandra Dovgan's performance ruclips.net/video/mpZGuIpU8KA/видео.html
I listened many other interpretations of the Brahms' masterpiece. This is far the best. The Richter's performarce was outstanding.
Auch diese Händel-Variationen sind unter Richters Händen wieder ein unwiderstehlich einheitlicher Organismus!
Sviatoslav Richter's performance illuminates the very heart of these variations ... the skeleton of the theme, which allows a lot of transformations, melodic , harmonic and contrapunctal variations.
Richter. Se agradece ese tiempo compartido
Amazing recording, this and the complete WTK are the recordings I own with virtuoso Richter.
Волшебство! Всегда, когда играет Рихтер.
I didn't know about this richter's recording... great!
By far the best performance of this piece.
An admirably rigorous account, for me emphasising the conceptual unity of the piece - perhaps a little at the expense of the individuality of the 'stand-alone' variations and distinctiveness of the variation groupings. The tempo of the fugue is sane and very stable (as one might expect) and the textures admirably lucid. It's most interesting to here Richter in this piece - I wasn't aware that he played it, though it comes as no surprise to discover that he did! Played on a (not-totally-in-tune) Yamaha I think (?)
The stupid concept of "unity of the piece" ..... and the "stability" of the tempi .... what a shit ...
Richter is just boring here , have the courage to say it !
@@Fritz_Maisenbacher
Richter can't be boring q.q.= qualitate qua, which means for the people who don't understand latin: Because of the qualities of Richter, including his virtuoso and originality he can't be boring.
On the contrary he is always surprising!!
I think you are boring with your silly comments.
@@janwillemheijbroek9107
Curious comment ... is Richter a pagan idol, some african voodoo, you cannot criticize ?
@@janwillemheijbroek9107I love Alexandra Dovgan's performance ruclips.net/video/mpZGuIpU8KA/видео.html
He plays it like the Shumann works in a splendid way
Nice and clean performance by the Richter of the last years...I wonder how he would have played this 30 years before this performance...
Amazing Richter. Timeless ❤❤❤
Thanks for sharing.
However FYI I have to point out that it seems that the pitch is about a half-tone sharp; if this is due to the original tape shrinking, the tempos would also be sped up by a proportional amount.
emilgilels Thanks for listening. I have absolute pitch, and although it's a bit high, I still hear it as B flat major, not as B major -- it's somewhere "in between"...you can check for yourself with this tool:
www.onlinetuningfork.com/
pianopera Emil Gilels is just jealous!
Pogouldiwitz With good reason! ;-)
Haha I don't have absolute pitch, but do have good tonal memory. I got this performance into my head as being 'high' and now can't get it out! Perhaps in time I'll 'forget' the pitch and be able to listen more 'objectively'...
FYI, in spite of my screen name, I'm much more of a Richterian than a Gilelsian! ;-)
emilgilels I think the diffence is GIlels is so cocerned with sound it doesn t always work musically.Richter is concerned with the score making it ligitamate.
Stunning performance, a geometrical interpretation!
These variations are the first of Brahms's three great triumphs in symphonic variation - the work sets a path to the Haydn variations and the finale of the Fourth Symphony. It is an invitation to the pianist to play, and listen, orchestrally, with an ear to colour. The theme is cleverly chosen to be simple enough to remain perceptible under extreme harmonic and contrapuntal elaborations, yet characterful enough for the listener to hear what it is in the theme that some of the most ambitiously speculative variations are responding to. There is a subtle change of character at the double bar in Handel's Aria that often leads Brahms into deep minor key territory, with mysterious confidential inner voices. It does seem to me that Richter (at least on this occasion) either misses most of this or deliberately steers away from it (perhaps cleaving to paths of Socialist Realism). Take the first variation, where the second half has exactly the same monochrome mood as the first. Or the third variation, where the echoing interplay between the hands is very prosaic and, critically, Richter fails to pass the melody across the interchanges. And so on. All the right notes in the right places, but ultimately disappointing for such a great artist as Richter.
sublime
❤ Maravilhoso Richter!
For me this performance is the epitome of "illuminating": I simply didn't get this work until I heard it and thought it was one of Brahms's lesser opuses.
Bravo Richter !
Bravo Murray Perrahia .
Give me a CD adress, please. :)
B major
Taking nothing away from Richter's performance of this, Sumin Hong's rendition of it is a nice change of pace.
20:41 -- Fuga
Światosław Richter pięknie delikatnie gra Bramsa tym bardziej że utwór był dedykowany kobiecie
My friends used the opening theme and first variation here as their wedding entrance music, and the last variation as exit music. Perfect. To me, he's in too big a hurry here.
Rudolf Serkin
Why is it tuned h dur? Its b dur!
presque b dur !! et donc tout est entendu plus rapide ??
12:11 XIV
Liefde en Kracht
fluttery sound
E gustan mucho. 😂
Molto asciutta. Esemplare per tecnica ovviamente, per comprensione ed interpretazione come unicum e non successione di singole variazioni. Ma la sensazione e' che per Richter questa sia musica rispettata ma non amata.
mutig und unkonventionell!!!!
That piano sounded like tin cans. Couldn't a super star such as Richter have a better piano avail for him to record this piece? His playing was excellent, but it could have been so much better on a better piano!!!
I respectfully beg to differ. This piano enables Richter to conjure every shading and dynamic. Richter could be a banger at times but here his tone practically melts. Can it really be a Yamaha?
Richter is my favorite pianist overall but I have to agree with you about the piano sound. And I admire your courage for expressing yourself so fearlessly.
It is a poor piano not fitting for one of the greatest pianists that has ever lived. It's amazing how much Richter gets out of it despite this.
This is very very weak for Richter
"Very very weak"? On what basis do you come to such a conclusion?
Our friend is more playing Händel than Brahms .... try Katchen or Gelber for further sensations ....
I don't know if it's weak, but I hear what you're saying. This is from the late 80's so he was probably tired. Just imagine him playing this at 43, instead of 73. His best performances are from a time when nobody had even heard of him.
OK . This is right . I would also wish myself to have the chance to hear so many masters before it is too late .... Carlos Kleiber in the Missa Solemnis , for example .... haha ...
I wish I could play like this at age 73. those trills... he feels each and every gramm of the keys.
I didn't know about this richter's recording... great!