Yeah, yeah, too fast, too powerful, too this, too that. I read the comments. Plenty of others marvelous interpretations out there, I get it. Once in a while, it's good to listen to Richter taking no prisoners. Perfect for a stormy day.
I mean this ballade no.1 coda is absolutely astonishing. I get why you wouldn’t like his ballade no.4 since it is the most poetic ballade and it is basically a long meditation on life itself. However, the coda of the first ballade is meant to be ruthless and powerful. This coda is absolutely that, especially the right hand phrasing is absolutely phenomenal.
I'm not too familiar w/ Chopin, but it seems to me like Richter-s power & forcefullness does the music a lot of good. His Winter Wind is the best I've heard so far, IMO
Глубина, с которой Рихтер, погружает в музыку композитора не перестает удивлять. Ощущение, будто идешь за руку с опытным экскурсоводом, который подводит к очередной картине и дает возможность посмотреть и пережить то, что нам оставили мастера прошлого. Каждый раз слушаю и останавливаю дыхание, боясь упустить существенные детали.
What a Nocturne op.62/2 - - - passion, resistance, belcanto, - - - a turbulent desert of realistic-surrealistic emotion! This is composition and playing at its highest..
J'ai eu la chance, en tant que participant à la logistique des "Fêtes musicales de la grange de Meslay" pendant quatre saisons de suite de 1981 à 1985, de voir, d'observer et surtout d'écouter ce grand Maestro, avant et après ses prestations dans les coulisses et pendant les préparations de ses concerts, arrivée, installation, accordage et reglages de ses deux pianos Yamaha. Globalement demeure en ma mémoire que Maestro Richter était un personnage énigmatique, et sans aucun doute mystique... doué d'une puissance prodigieuse et capable de maîtriser jusqu'à l'infime détail et expression des 8 nuances. Un immense musicien-pianiste-interprète, unique, incomparable et irremplaçable. Que son âme repose en paix.
Agree w/ Mr. Uhlenbrock: they brought out more dyamic range in this re-mastering. Superb in every respect. Richter just had awesome power. Makes me wish I had a time machine. Lacking that, recordings like this will have to do.
It is not physical power. Richter had some unbelievable spiritual powers which were sometimes quite frightening. Endless yet never harsh. Hearing Richter in person was truly indescribable.
Я и не заметила, как пролетел этот волшебный час общения со Святославом Теофиловичем Рихтером. Благодарю Вас за эту запись на вашем канале! Всего Вам самого доброго! 29.09.2023
Music being a universal, non-verbal language, the way it makes itself understood is by transcription through an agreed form of text that is its vocabulary and grammar etc. As new patterns and textures of sound are invented, and new instruments and techniques are conceived, musical text becomes ever more complicated, and the music itself ever more varied in all its aspects. There is no right or wrong, EXCEPT the correct reading of those musical notations and instructions that do not allow alternatives in their execution, when that was what was intended by the composer IF he/she made that clear, and IF the instrumentalist claims to speak for the composer as the latter intended. Beyond these limits lie almost infinite variety, increasing infinitely over time. Here’s a thought: when someone says you played a piece of Beethoven musical notation ‘wrongly’ on a modern piano, imagine Beethoven coming alive, hearing it played that way, and commenting. I think he would say, “wow, what an amazing sound, it’s giving me ideas, let me write down what I heard, I’m going to have to invent some more musical notations, I’ve got to get one of these pianos, they’re incredible, I need to relearn how to play, and how to read music for this piano, and what it sounds like in my home, in the concert hall etc. etc. One thing is certain: a piano sonata written by Beethoven at and for a modern piano would sound different from the other 32! My guess is that the great man would find the bass in his compositions too heavy on his ear and we would hear less of it, but with a busier middle range, and more intense melodies on top as he falls in love with the rich timbres and singing quality of the modern piano compared with the thinner, percussive sounds of the clavichord. Just speculating ….. and pondering on what it would be like to encounter all one’s heroes in an intuitive, non-verbal discussion about anything and everything in an ‘afterlife’. Wait a minute …. too many people …. no time to think …. universal communication at infinite speed …. infinite memory …. don’t much like this …. must be missing something ….
I actually quite like the take no prisoners approach to the c#m etude. It captures the heat and storminess better than the carefully note perfect performances.
His Chopin is superb, incomparable, and above any others renditions, except, may be, only for Rachmaninoff's and Moiseiwitsch. The photo is from the rehearsals with Leinsdorf, the Brahms Piano Concerto n2 in B-flat , Op.83, 17-18 October 1960, Chicago Symphony Orchestra, USA. There, the Maestro is 45 year old.
Представляется-свои гениальные композиции Святослав Теофилович проигрывал в своей Высшей нервной системе накануне концертов. Переосмысливал музыкальное содержание. И на концерте осуществлял "квинтэссенцию" произведения.
What the remastering that was done here achieves strikes you as even more impressive when you are familiar with the un-remastered version of the recordings. Take the 4 ballads from Prague 1960 for example and compare them to the "original" version which is widely available on YT. A big difference not only in enjoyableness, but also in doing justice to - in this case - Richter by giving you a better idea of what you would have heard if you had actually been there among the audience.
Everyone should listen to Josef Hofmann's Golden Jubilee concert from 1937 when Hofmann was 61 years old. His interpretation of the G minor Ballade is a standard-setter. While Richter jams down the sustaining pedal and rarely lets it up, Hofmann uses way less pedal for the whole piece (and for everything he played. It seems that the sustaining pedal was much less used in the C19. The recordings of the C19 pianists bear this out. Only Mark Hambourg uses as much pedal as Richter et al.)
@@DelsinM Not that fast, check out my interpretation at 1:23 and 1:28, the 1:28 sounds better but I'm able to go much faster than that. Clarity is able to do better too with practice.
It will come :-) Meanwhile, the albums are available here : pragadigitals.bandcamp.com/album/franz-schubert-piano-sonatas-nos-16-17 pragadigitals.bandcamp.com/album/franz-schubert-piano-sonata-no-13-d-664-piano-sonata-no-21-d-960-impromptu-no-4-d-899
Nocturne no. 19 wasn't played very fast at all, was it? On a 19th-Century piano, it couldn't have been played much slower because there wouldn't be enough sustain.
Without any sense that you erased the applause at the end of the fourth ballade, making the last chord longer. You can be sure I'll never buy it. Applause is a part of the live recording. In certain cases, you can erase. But when applause is too connected with the last chord, you simply change, if slightly, the sense of the chord, by erasing applause. Too difficult to understand?
For gods shake. How put the ballade opus wrong. Its not all op23. The first is 23 the second 38 third 47 and then 52. Like please who could have done that mistake
I think Richter was the most fantastic pianist of the 20th century. However he plays everything way too fast. Especially for Chopin where the melody is the most beautiful part. And in a piece like this he’s playing it so fast that I find myself almost not able to follow the melody although I am familiar with the peace and play it myself. Why does it have to be so fast? Chopin himself played it at half that speed if not less. A piece like that should give a “perception” of speed and motion instead of actual “speed”. That’s the idea here. Otherwise you can just program a computer to play the whole thing in one second. Even Richter couldn’t play it that fast. Does that mean the computer is better than Richter? No. Because music is not about speed. It’s about enjoyment. And getting through something very fast doesn’t necessarily mean it’s enjoyable. Just ask your lady friend…
@@Davidfooterman @Davidfooterman From people I studied with. Musicologists like Nick England, my piano teachers such Leonid Hambro, Carlo Busotti, etc. Metronomic markings were interpreted differently back then. Back then a sense of "Fast" was a horse. Whereas in modern times an Airplane or a rocket would be considered "fast". If you follow Chopin's metronome markins literally then only a computer could play it. In reality there should be a "sense" of speed without an actual breakneck pace. Too fast separates what's in the right and left hand so much that you get a piece that lacks cohesion. Anyway, each pianist can have his own interpretation. I want to hear the emotions and the passion rather than super speed that rushes through the piece.
@@konixtwenty8275 I agree with you although I’m not sure you’re right about the tempi of Chopin’s own performances. Like Liszt, he made his name as a pianist by dazzling (mostly female) admirers in the salons of Paris, Vienna and other leading centers of musical fashion.
@@Davidfooterman Whatever "fast" speed Chopin and List performed at it would have been "fast" according to their understanding of what fast was. Fast in those days was a horse. In our days it's a rocket. Dazzling and evoking people's emotions with music is the goal....not just going super fast. We can't hear how "fast" Chopin played and we don't even know what exactly they used for metronome markings. There have been Chopin tempo tests done on RUclips and they show a much slower actual tempo. Just people want to show off. That's why they go as fast as possible. So at that point they are no longer there for the music itself. It's a ego trip.
@@konixtwenty8275You realize that Chopin and Liszt were both very extrovert piano virtuosos, right? One can occasionally get a glimpse of their level of skills in little elements of their piano compositions, little details of almost unplayable difficulty.
Yeah, yeah, too fast, too powerful, too this, too that. I read the comments. Plenty of others marvelous interpretations out there, I get it. Once in a while, it's good to listen to Richter taking no prisoners. Perfect for a stormy day.
Yes, it is interesting that people have to mention other performers. What's the point? Are we comparing Richter?
He is on another plane.
I mean this ballade no.1 coda is absolutely astonishing. I get why you wouldn’t like his ballade no.4 since it is the most poetic ballade and it is basically a long meditation on life itself. However, the coda of the first ballade is meant to be ruthless and powerful. This coda is absolutely that, especially the right hand phrasing is absolutely phenomenal.
I'm not too familiar w/ Chopin, but it seems to me like Richter-s power & forcefullness does the music a lot of good.
His Winter Wind is the best I've heard so far, IMO
Everybody forgot to write "for my taste" after "too fast"... After all, it's only a matter of taste.
Holy damn played the etudes when he was 73 years old, yet still technically stunning
The greatest pianist that ever lived !
Огромное спасибо чехословацким на тот момент специалистам за запись великого пианиста и благодарность каналу
Franz Liszt and Anton Rubinstein exchange a look ...
Глубина, с которой Рихтер, погружает в музыку композитора не перестает удивлять. Ощущение, будто идешь за руку с опытным экскурсоводом, который подводит к очередной картине и дает возможность посмотреть и пережить то, что нам оставили мастера прошлого. Каждый раз слушаю и останавливаю дыхание, боясь упустить существенные детали.
This overwhelming power is unrivaled, and indescribable
What a Nocturne op.62/2 - - - passion, resistance, belcanto, - - - a turbulent desert of realistic-surrealistic emotion!
This is composition and playing at its highest..
J'ai eu la chance, en tant que participant à la logistique des "Fêtes musicales de la grange de Meslay" pendant quatre saisons de suite de 1981 à 1985, de voir, d'observer et surtout d'écouter ce grand Maestro, avant et après ses prestations dans les coulisses et pendant les préparations de ses concerts, arrivée, installation, accordage et reglages de ses deux pianos Yamaha. Globalement demeure en ma mémoire que Maestro Richter était un personnage énigmatique, et sans aucun doute mystique... doué d'une puissance prodigieuse et capable de maîtriser jusqu'à l'infime détail et expression des 8 nuances. Un immense musicien-pianiste-interprète, unique, incomparable et irremplaçable. Que son âme repose en paix.
Agree w/ Mr. Uhlenbrock: they brought out more dyamic range in this re-mastering. Superb in every respect. Richter just had awesome power. Makes me wish I had a time machine. Lacking that, recordings like this will have to do.
Its not just awesome power friend, its the humanity and musicianship he brings out in Master Chopin's scores
It is not physical power. Richter had some unbelievable spiritual powers which were sometimes quite frightening. Endless yet never harsh. Hearing Richter in person was truly indescribable.
Fantasy Polonaise and Ballade No. 4 prove to be outstanding works. This is reflected in the depth of his love for Richter's work. Thank you.
Я и не заметила, как пролетел этот волшебный час общения со Святославом Теофиловичем Рихтером.
Благодарю Вас за эту запись на вашем канале!
Всего Вам самого доброго!
29.09.2023
Смотрите двухсерийный фильм Непокоренный Рихтер!!!!!!!!
❤
@@user-xo9ov8fv5z
Спасибо за внимание!
Я видела этот фильм несколько раз.
Всего Вам самого доброго!
23.01.2024.
Chopin to najpiękniejsza spuścizna dla ludzkości ❤️
Well now, not always my cup of tea, but his g minor ballade was something SPECIAL.
That was the first performance of Richter I knowingly heard some 25 years ago. That Ballade. I also think, it is indeed special.
C'est genial ❤❤❤
Music being a universal, non-verbal language, the way it makes itself understood is by transcription through an agreed form of text that is its vocabulary and grammar etc. As new patterns and textures of sound are invented, and new instruments and techniques are conceived, musical text becomes ever more complicated, and the music itself ever more varied in all its aspects. There is no right or wrong, EXCEPT the correct reading of those musical notations and instructions that do not allow alternatives in their execution, when that was what was intended by the composer IF he/she made that clear, and IF the instrumentalist claims to speak for the composer as the latter intended. Beyond these limits lie almost infinite variety, increasing infinitely over time. Here’s a thought: when someone says you played a piece of Beethoven musical notation ‘wrongly’ on a modern piano, imagine Beethoven coming alive, hearing it played that way, and commenting. I think he would say, “wow, what an amazing sound, it’s giving me ideas, let me write down what I heard, I’m going to have to invent some more musical notations, I’ve got to get one of these pianos, they’re incredible, I need to relearn how to play, and how to read music for this piano, and what it sounds like in my home, in the concert hall etc. etc. One thing is certain: a piano sonata written by Beethoven at and for a modern piano would sound different from the other 32! My guess is that the great man would find the bass in his compositions too heavy on his ear and we would hear less of it, but with a busier middle range, and more intense melodies on top as he falls in love with the rich timbres and singing quality of the modern piano compared with the thinner, percussive sounds of the clavichord. Just speculating ….. and pondering on what it would be like to encounter all one’s heroes in an intuitive, non-verbal discussion about anything and everything in an ‘afterlife’. Wait a minute …. too many people …. no time to think …. universal communication at infinite speed …. infinite memory …. don’t much like this …. must be missing something ….
I actually quite like the take no prisoners approach to the c#m etude. It captures the heat and storminess better than the carefully note perfect performances.
My sentiment exactly. No prisoners. :)
Sviatoslav Richter es sin duda mi pianista favorito,aunque también me gusta Claudio Arrau,que fue de mi patria.
Prueba Dinu Lipatti...ruclips.net/video/Xdr_sBXvaJY/видео.html
@@mitican gracias
Toujours le tornado ! Je l'ai vu à Wroclaw en Pologne en 1970 ! RIP
His Chopin is superb, incomparable, and above any others renditions, except, may be, only for Rachmaninoff's and Moiseiwitsch. The photo is from the rehearsals with Leinsdorf, the Brahms Piano Concerto n2 in B-flat , Op.83, 17-18 October 1960, Chicago Symphony Orchestra, USA. There, the Maestro is 45 year old.
That isn't Leinsdorf on the podium. The man has hair!
@@lucapostorino1963 May be his assistant? But it is 17-18 October 1960, Chicago Symphony Orchestra, USA., the rehearsals.
Шопен и Рихтер - умиротворение звуками музыки.
Вот умиротворения тут точно нет
Представляется-свои гениальные композиции Святослав Теофилович проигрывал в своей Высшей нервной системе накануне концертов. Переосмысливал музыкальное содержание. И на концерте осуществлял "квинтэссенцию" произведения.
Превосходно!
What the remastering that was done here achieves strikes you as even more impressive when you are familiar with the un-remastered version of the recordings. Take the 4 ballads from Prague 1960 for example and compare them to the "original" version which is widely available on YT. A big difference not only in enjoyableness, but also in doing justice to - in this case - Richter by giving you a better idea of what you would have heard if you had actually been there among the audience.
Thank you !
Just have to agree with you. This re-mastering allows us to listen in wonder to Richter's powerfully subtle playing replete with timeless phrasing.
Absolutely right. It’s incredible stuff!
やく
sin palabras todo oído
💝💝💝 TY
Super - TY
ГЕНИЙ!
Everyone should listen to Josef Hofmann's Golden Jubilee concert from 1937 when Hofmann was 61 years old. His interpretation of the G minor Ballade is a standard-setter. While Richter jams down the sustaining pedal and rarely lets it up, Hofmann uses way less pedal for the whole piece (and for everything he played. It seems that the sustaining pedal was much less used in the C19. The recordings of the C19 pianists bear this out. Only Mark Hambourg uses as much pedal as Richter et al.)
The left-hand likes spray， right hand likes cannon.
❤
하... 너무 좋다
To prekidanje kompozicije sa reklamama je bezobrazno -mislim do k Richter svira Chopena
リヒテルの演奏はテンポや音量の変化が多すぎるのであまり好きではない。
だが、時にそれがツボに嵌ると絶妙な表現となる。
6:53 がそれ。この曲に関しては私の最高の演奏である。
역시 ~~~~차윈이 다른연주네요
Op. 10 #4 is in C# minor
Although this is so fast it might have jumped up a tone due to the doppler effect or something
@@DelsinM Not that fast, check out my interpretation at 1:23 and 1:28, the 1:28 sounds better but I'm able to go much faster than that. Clarity is able to do better too with practice.
@Paul Zeng How much practice did it take to become such a shameless self-promoter?
@@roberthill799 That was a sledgehammer blow, sir, but very apt.
Can you master Richter plays Schubert ??? Please
It will come :-) Meanwhile, the albums are available here :
pragadigitals.bandcamp.com/album/franz-schubert-piano-sonatas-nos-16-17
pragadigitals.bandcamp.com/album/franz-schubert-piano-sonata-no-13-d-664-piano-sonata-no-21-d-960-impromptu-no-4-d-899
20*********24. Mexico.
Opet stalno prekidste sa reklamama-gori ste od komaraca
Točno tako!
Mexico. ,,,,,,,,,
Рихтер великолепен.ТакШопена не исполняет никто.
Nocturne no. 19 wasn't played very fast at all, was it? On a 19th-Century piano, it couldn't have been played much slower because there wouldn't be enough sustain.
No interrumpir
Perfeito mas isto não soa a CHOPIN, mas como um corredor de cavalos!
Impossible....It's a Trick, I tellya......
Without any sense that you erased the applause at the end of the fourth ballade, making the last chord longer. You can be sure I'll never buy it. Applause is a part of the live recording. In certain cases, you can erase. But when applause is too connected with the last chord, you simply change, if slightly, the sense of the chord, by erasing applause. Too difficult to understand?
For gods shake. How put the ballade opus wrong. Its not all op23. The first is 23 the second 38 third 47 and then 52. Like please who could have done that mistake
It seems the correction has been made. Thanks for your help.
He is a good pianist but then he is too quick for Chopin & lacks his charm unfortunatly.
Edel schlicht ohne billige Sentimentalität.
I think Richter was the most fantastic pianist of the 20th century. However he plays everything way too fast. Especially for Chopin where the melody is the most beautiful part. And in a piece like this he’s playing it so fast that I find myself almost not able to follow the melody although I am familiar with the peace and play it myself. Why does it have to be so fast? Chopin himself played it at half that speed if not less. A piece like that should give a “perception” of speed and motion instead of actual “speed”. That’s the idea here. Otherwise you can just program a computer to play the whole thing in one second. Even Richter couldn’t play it that fast. Does that mean the computer is better than Richter? No. Because music is not about speed. It’s about enjoyment. And getting through something very fast doesn’t necessarily mean it’s enjoyable. Just ask your lady friend…
‘Chopin himself played it at half that speed or less’. Where do you get your information from?
@@Davidfooterman @Davidfooterman From people I studied with. Musicologists like Nick England, my piano teachers such Leonid Hambro, Carlo Busotti, etc. Metronomic markings were interpreted differently back then. Back then a sense of "Fast" was a horse. Whereas in modern times an Airplane or a rocket would be considered "fast". If you follow Chopin's metronome markins literally then only a computer could play it. In reality there should be a "sense" of speed without an actual breakneck pace. Too fast separates what's in the right and left hand so much that you get a piece that lacks cohesion. Anyway, each pianist can have his own interpretation. I want to hear the emotions and the passion rather than super speed that rushes through the piece.
@@konixtwenty8275 I agree with you although I’m not sure you’re right about the tempi of Chopin’s own performances. Like Liszt, he made his name as a pianist by dazzling (mostly female) admirers in the salons of Paris, Vienna and other leading centers of musical fashion.
@@Davidfooterman Whatever "fast" speed Chopin and List performed at it would have been "fast" according to their understanding of what fast was. Fast in those days was a horse. In our days it's a rocket. Dazzling and evoking people's emotions with music is the goal....not just going super fast. We can't hear how "fast" Chopin played and we don't even know what exactly they used for metronome markings. There have been Chopin tempo tests done on RUclips and they show a much slower actual tempo. Just people want to show off. That's why they go as fast as possible. So at that point they are no longer there for the music itself. It's a ego trip.
@@konixtwenty8275You realize that Chopin and Liszt were both very extrovert piano virtuosos, right? One can occasionally get a glimpse of their level of skills in little elements of their piano compositions, little details of almost unplayable difficulty.
barbaric
Richter, honestly, can't play Chopin right.
I know! But his not right play is so brilliant and exciting, I just can't help myself from loving it.
That is your opinion... and who cares about your opinion??
@@neversayneveragain3748 All I can say in short is that you have been worshipping the wrong God.
Richter can play anything.
@@press5693 you can say that again
❤