Ludwig Van Beethoven (1770-1827) Piano Sonatas Opus 109,110 & 111 Listen to our latest mastering update: bit.ly/3sE22dQ 🎧 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… *Click to activate the English subtitles for the presentation* (00:00-02:10) Piano Sonata #30 In E, Op. 109 - 1. Vivace Ma Non Troppo, Adagio Espressivo (00:00) Piano Sonata #30 In E, Op. 109 - 2. Prestissimo (03:02) Piano Sonata #30 In E, Op. 109 - 3. Gesangvoll, Mit Innigster Empfindung (05:23) Piano Sonata #31 In A Flat, Op. 110 - 1. Moderato Cantabile, Molto Espressivo (18:09) Piano Sonata #31 In A Flat, Op. 110 - 2. Allegro Molto (24:34) Piano Sonata #31 In A Flat, Op. 110 - 3. Adagio Ma Non Troppo (27:02) Piano Sonata #31 In A Flat, Op. 110 - 4. Fuga: Allegro Ma Non Troppo (30:59) Piano Sonata #32 In C Minor, Op. 111 1. Maestoso, Allegro Con Brio Appassionato (38:43) 2. Arietta: Adagio Molto Semplice E Cantabile (46:49) Johannes Brahms (1833-1897) Ballade in G minor, Op.118, No.3 (1:02:37) Intermezzo in E-Flat minor, Op.118, No.6 (1:06:06) Intermezzo in C Major, Op.119, No.3 (1:11:22) Frédéric François Chopin (1810-1849) Nocturne in F Major, Op.15, No.1 (1:13:42) Piano : Sviatoslav Richter Live recording : The 28 November 1963, at the Leipzig Gewandhaus 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr Lorsque Richter a joué (disons) Beethoven, c'est Beethoven qu'il voulait que vous admiriez, et non Richter. "La nature de l'interprète - et sa grandeur - est d'être un miroir", a-t-il dit un jour. "Je ne suis pas absolument stupide, mais je n'ai aucun talent pour penser, que ce soit par faiblesse ou par paresse ; je sais seulement réfléchir : Je suis un miroir". En "réfléchissant" une pièce musicale - en communiquant pleinement et clairement sa structure et son caractère -, Richter a cherché à tirer un style approprié de la musique elle-même, et non à lui imposer un style personnel donné. Il peut être difficile de prédire à quoi ressemblera le son de Richter d'un morceau à l'autre, en raison de son engagement à répondre aux différents besoins des différents styles de musique. Or, Richter n'était pas un exécutant à sec, et n'était pas au-dessus de certaines intrusions créatives de son cru - ses propres altérations révélatrices de la dynamique, du phrasé ou du rythme - mais toujours au service des idées du compositeur ; son but était toujours de laisser la musique parler directement autant que possible. Sa priorité, comme celle de Schnabel, a toujours été la substance musicale plutôt que l'effet instrumental. Son professeur Theodor Leschetizky a dit un jour à Schnabel : "Tu ne seras jamais pianiste. Vous êtes un musicien". Il semble étrange de dire une telle chose de Richter, dont les prouesses techniques faisaient l'envie des autres pianistes. L'agilité de la gymnastique, la palette tonale et dynamique, la précision du phrasé, la gamme expressive allant du lyrisme chuchotant à l'explosion volcanique, la maîtrise à grande échelle du rythme dans des tempos allant de la quasi immobilité à la frénésie, cette fabuleuse main gauche, tout cela était admiré à juste titre. Sans parler des exigences très élevées qu'il s'imposait à lui-même, alors qu'il travaillait avec ferveur à la perfection, en répétition, en concert et en studio d'enregistrement. (Sur son enregistrement de la Sonate "Appassionata" de Beethoven, réalisé aux États-Unis en 1960, il a déclaré qu'elle n'était "pas particulièrement bonne" - une opinion qui étonnera quiconque l'entendra). Pourtant, les objectifs de Richter n'ont jamais été finalement pianistiques : il a utilisé le piano pour aller au-delà du piano. Il a toujours été modeste en ce qui concerne son équipement technique. Il a dit un jour : "La technique, pour moi, c'est l'enthousiasme. Tout est une question d'esprit - et de liberté. Exercices, gammes, Hanon, Cramer, Clementi ... pas une seule fois dans ma vie. C'est dégoûtant !" Et il faut rappeler qu'il a commencé tardivement comme pianiste de formation, et qu'il a grandi en pensant peu à la technique en soi, jouant de la musique orchestrale et de l'opéra aussi facilement que de la musique pour piano seul. C'est une éducation qui l'a naturellement amené à faire passer la musique avant l'instrument. Mussorgsky - Pictures at an Exhibition (piano) / NEW MASTERING (Century’s rec.: Sviatoslav Richter): ruclips.net/video/B7e3xpOuvdQ/видео.html Ludwig Van Beethoven PLAYLIST (reference recordings) : ruclips.net/video/aI0FhkCnLoc/видео.html
When I look at Beethoven’s face while listening to these variations, as tortured as they are in places, I sense depression, and frustration. It feels as though he suffered from what today would be recognized as clinical depression, and you sense it not only during the dark minor key passages but also in some of his reflective melodies in major keys, such as you hear at 19 minutes in this recording: this is not happy music; this is the sound of musings in a depressed mind. Lord knows, if he was already significantly deaf by this time, bearing in mind that he was also a performing musician, both professionally and socially, he would be constantly reminded of his problem, especially when working or making music with friends. One can feel when he is at work alone: there is a kind of intense sadness interspersed with feelings of joy - the kind of unspoken sensuous joy you get from the beauty of melodies. Whether he got that from his own melodies or from fragments of Haydn and others that he liked, I don’t know, but sometimes you can feel it. I sense it in fragments of his piano sonatas; I don’t feel it in the large works such as the Missa Solemnis or the choral section of the ninth symphony, where I feel a professionally fulfilled Beethoven being well paid for his work. I don’t know whether this is factually correct; I just feel it that way. There are parts of the big piano sonatas, notably the Hammerklavier, where he is struggling with frustrations and the emotional evidence is pouring out; at these times, it feels as though he has lost the sonata form and he is wandering around with whatever comes into his head. In this recording you feel it … and then he gets a big idea and starts ‘Les Adieux” - “screw the rules; I’m fed up and I’m just writing down what I want and someone else can rewrite a clean copy if they want to get people playing it …” Les Adieux is so intense: it starts out as a formal piece and then goes berserk as the umbrage and frustration starts coming out; I wonder what was bothering him at the time; maybe a musicologist with the knowledge of history can answer that for me.
Because writing is hard these days, here's what I think Beethoven was actually trying to achieve in the words of GPT. Regardless of his emotional state, I think there is profound cohesion and intention behind these sonatas, albeit perhaps through a lens of the darker aspects of existence. " Beethoven's last three piano sonatas (Op. 109, Op. 110, and Op. 111) are not merely a collection of compositions; they form a cohesive trilogy that delves into the profound enigma of human existence. Far from evidencing a lack of ideas, the so-called "wanderings" in these pieces are intentional, weaving a tapestry of complex emotional landscapes that evoke the lofty, often disorienting journey through life. Op. 109 opens with a serene, almost nostalgic theme, setting the stage for a voyage through the innocence and complexities of existence. The subsequent variations grow increasingly introspective, reflecting on personal growth amidst life's challenges. This sonata, with its final movement of transcendent variations, suggests a contemplation of life's fleeting moments and the personal transformations they engender. Op. 110, in contrast, introduces a darker, more turbulent narrative. The central movement, marked by a mournful arioso dolente followed by a fugue, portrays a profound struggle, a descent into despair. Yet, this is followed by a miraculous recovery in the final movement, where themes of renewal and resurrection emerge, symbolizing hope and rebirth from the ashes of hardship. The trilogy concludes with Op. 111, a sonata that starts with a stormy and tumultuous first movement, reflecting the harsh realities and struggles of life. However, it is the final movement that marks Beethoven's ultimate departure from the temporal to the ethereal. The theme and variations ascend into a realm of peace and spiritual liberation, suggesting an acceptance of life's absurdities and a transcendental resolution to the existential drama. These sonatas collectively explore the absurdity and drama of existence, capturing the cycle of life-from innocence through adversity to enlightenment. Beethoven’s compositions transcend mere musical structure; they are profound meditations on life itself, inviting listeners to ponder their own journey through the complexities and ultimate possibilities of existence. "
It is indeed one-recital-in-a-life-time or a recital on an island. The original radio broacast talked about a 6 minute applause between the brahms encores and the Chopin .....incredible!!!A pity the commercial CD left the encore opening Brahms OP118(1) out.Probably due to the time limit allowed on the 80' cd.
I remember the buzz he stirred when he first played in London in the 60's. The consensus among my circle of music lovers was that no one would hear those pieces the same way again. Sharp lines, extraordinary technique and enormous intensity.
Ascoltando le ultime sonate di Beethoven (inclusa la 29a) eseguite da Richter, ho pensato che si sentissero flussi di musica mozzafiato da molti pianisti eccezionali. Ma solo a Richter si sente e si vede il tempio della musica. Richter è un grande architetto! Слушая последние сонаты Бетховена (включая 29-ю) в исполнении Рихтера, я подумал, что у многих выдающихся пианистов мы слышим захватывающие потоки музыки. Но только у Рихтера мы слышим и видим храм музыки! Рихтер - великий архитектор.
Here are three of the five sonatas of the so-called "third manner" of Betthoven. Each of these five sonatas has a form and an expression of its own. In his third manner, Beethoven re-invented the global forms of his work in an often surprising way. The same is true for his last quartets. Svitaoslav Richtar is an outstanding interpret of these surprising poems. This recording is a great masterwork.
thank you for the beautiful and insightful words Gérard. Im a composer in training who think of Beethoven as a teacher and a great master to learn from. I believe the late Beethoven works were far far ahead for its time.
Wunderschöne live Aufführung dieser perfekt komponierten Meisterwerke in verschiedenen Tempi mit entschiedenem und zugleich anmutigem Anschlag sowie perfekt kontrollierter Dynamik. Bestimmt der genialste Pianist im 20. Jahrhundert!
I am amazed by his reading of the C major Intermezzo Opus 119 of Brahms. Most pianists usually speed through it and he, who was a speed demon, takes it at such a leisurely pace. I like it.
About Sviatoslav Richter, the legend commenced, then gathered force, during the fifties when it was rumored that there was a pianist in Russia who caused even such formidable colleagues as Emil Gilels to exclaim in awe and amazement. Expectations were raised still higher when Julius Katchen, and later Lazar Berman, claimed that Richter was, quite simply, a ‘’non pareil’’, a pianist whose titanic powers forbade even whispered comparisons. During the sixties Richter at last appeared in the West. Packed houses in London and New York awaited his arrival with baited breath, but although Richter’s greatness was beyond doubt he was plainly and understandably a frightened man. Anticipation pulsed at fever pitch and the atmosphere at both the Royal Festival Hall and Carnegie Hall was fraught with tension. Perversely Richter began hi three London recitals with a stunning Haydn and Prokofiev programme, only to become increasingly nebulous and withdrawn in Chopin and Debussy, Schubert and Schumann, lost and confused within his own oddly impenetrable reverie. The same happened in New York where Richter’s fascinating if very fallible readings were permanently captured on record by CBS. And what of Richter’s Bach, Mozart and Beethoven, his Brahms and Liszt, Scriabin and Ravel ? During the following years the answers came thick and fast but were often tantalizing and rarely what anyone expected; sometimes baffling, sometimes frightening in their almost manic intensity and conviction. Idiosyncratic, plain-speaking, titanic, reserved, of a scarcely credible lyric virtuosity and perhaps above all, profoundly enigmatic, Richter remains one of the greatest recreative artists of all time.. Mussorgsky - Pictures at an Exhibition (piano) / NEW MASTERING (Century’s rec.: Sviatoslav Richter): ruclips.net/video/B7e3xpOuvdQ/видео.html 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr
Magnificent the definitive performances, especially op. 111. First a titanic struggle against forces [internal & external]; then a hard-won piece and a drifting off into paradise.
I agree on the quality but would hesitate to use the term definitive for these interpretations. I think they do belong to the few really outstantding ones, in the sense that they really stand out, but have listened to other distinctive performances (Benedetti Michelangeli or, more recently Kun-Woo Paik), such that make you feel you are hearing Beethoven's sonatas for the first time.
Incredible Richter delivered again! My favorite Sonata #32 sounds very modern, almost jazzy ( Arietta), transported from the beginning of 19th century into the mid 20th! What a delight! Thank you
En 1963 en la ciudad alemana de Leipzig, donde se encuentra sepultado el genio de la mùsica Juan Sebastiàn Bach, el renombrado pianista ruso Sviatoslav Richter, de refinada tècnica y virtuosismo, brinda una funciòn donde ejecuta las sonatas 30, 31 y 32 del eximio compositor Ludwing Van Beethoven, con maestrìa y solvencia que quedan plasmada en la presente grabaciòn.
Great recital overall, but the real gem is opus 111, Beethoven's last piano sonata -- there is so much one can say about this performance, but I'll stop with just noting the incredible contrast between the two movements, and the strong rhythmic pulse throughout, the spiritual depth, etc...
Well said. While I have always been a big admirer of the late Beethoven, Op. 111 was not among my favorite-- until I heard this version. Richter's "strong rhythmic pulse," as you mentioned, is a real revelation here.
The sound engineers for this recording are third rate. Not only is every cough recorded but coughs by everyone within five miles were added to drive listeners CRAZY
@@andyschnabel5225 Indeed-other pianists slow this second movement of op 111 so much...far away from the value of the notes(demisemiquaver or 32nd note).They play it like crotchet(that is quarter note)....Only Richter sets the things straight!!!
Thanks for posting this. Beethoven’s sonata no 30 is my favorite Beethoven sonata. This work in the hands of Richter is like a religious apotheosis. The third movement is especially amazing. One thought that I had while listening to these sonatas is how the no 32 stands out. It consists of two movements like the no 27 and it lacks the fugue unlike many of Beethoven’s later period sonatas or is it that Beethoven has transformed the fugal form in this sonata?
Classical Music/ /Reference Recording yes. After reflecting more on this and discussing more with friends in music, I’ve come to the following conclusion: Beethoven meant the sonata no 32 to be a work based on the duality of earth (the first movement in c minor) and all its suffering and the second movement in C major (representing heaven and the transcendent). Also, my reading of Thayer’s Life of Beethoven convinced me that this work was always intended as a work in two movements. Now, why the variations? We will never really know. But I believe it is because unlike the earthly, the heavenly cannot be known directly. The structure of thema and variations is a way of trying to comprehend the essence of something through successive elaboration. This to me is what underlies the variations form of the second movement of Beethoven’s last piano sonata. The perfect examples of this are the third movement of Beethoven’s sonata no 30 and also Bach’s Goldberg Variations. In each of these works, the theme is recapitulated. But somehow it’s not the same. In some profound sense, the journey of the variations leads one to a deeper understanding of the original theme.
I was reading the comments and it is so beautiful to see so many very knowledgeable about something. I listen but I am not capable of understanding the fine points. I wish I could. You are lucky
Amazing recording! Overall I find, you can hear Richter struggling with the sonatas. The struggle of a strong will to express, what’s written in the score. Taking risks, no fear of wrong notes. So exciting!!
You noticed that too! Amazing: modern 60s of XX century structure of XVIII cent composition. Beethoven has been my favorite composer through my life, and there is so much room to grow. Sonata #32 replaced sonata #14. I’ve been lucky to hear Richter and Gilels- two piano titans in life concerts at the hight of their performances.
The impossible genius of this man: can you imagine sitting down to write a piece of music in the style of an early nineteenth century symphony, where you were supposed to stick to a bunch of rules if you wanted to get it published, and you haven’t done one before, and you go, “Fxck this: I’m starting this with a dominant seventh and I don’t care what ‘Uncle Franz’ says”. This isn’t the act of composing: this is little bits of music coming to mind and forcing their way out onto paper. He sits down to try writing a symphony, he knows it’s got to be done but he’s got a dominant seventh to put on paper and, well, “lets see if this works …”!
Love this. I just don't understand why it is written 1956 while in the description it is written it was recorded on 28th November 1963. 1956 or 1963? Thank you.
Von Beginn an steht der (etwas hochgestimmte?) Steinway unter Hochspannung und Richter hat diese das ganze Konzert über in "seinem" unverwechselbaren musikalischen Griff: Überall fließt diann die "richtige", dem jeweiligen Werk entsprechend angepasste, Strom- (Ton) Frequenz - im Großen wie in jedem Detail: Wer will diesem Pianisten jemals gleichkommen...?! - (Vielleicht ein Daniil Trifonof?)
@@TJFNYC212 I also tried to listen through all Beethoven Sonatas with Arrau. It has been a relief to hear sombody else. Arrau in the studio is breathtakingly boring.
Schabel is in our collection :-) Its integral is a very valuable document. However Richter is more powerful. More relief in the dynamism. We speak in comparison of this particular recording which crushes the discography. For example, at 53:04 he is the only one to play the Arietta with as much power, nuance and technical precision.
This music is just too great to be defined by the recordings of only one pianist. My favorite Beethoven sonata recordings up to date have been those by Schnabel, Gilels and Backhaus. But differ significantly from each other, with each bringing something different and magnificent out of the music. After this upload I will start to investigate Richter's Beethoven sonatas also more seriously. These recordings are excellent!!!! And the last one that I am also interested in investigating are the 1970's recordings by Annie Fischer. The bit that I've listened to her sound just magnigicent. So to summarize, don't limit your enjoyment of these great sonatas to just 1 artist. And Richter wasn't the pianist of the century. If you compare him with other great like Backhaus, Gieseking, Gilels, Schnabel, Serkin and Sofronitsky (my top favorites), on what basis can you call him out above these other names? Richter is one of the grestest ever, but no one was SO great above everyone else that he alone can be called THE pianist of the century- unless that is just your own personal preference.
If you browse the playlist of this channel, you will notice that there are several great versions of Beethoven's piano sonatas and we will continue to add some. Yes this recording is exceptional. A miracle played live. It is a record of the century. Do not confuse recording of the century and pianist of the century.
One other thing that helped built the mystique around Richter was that in the 1960s very few Russians were allowed to travel to the west. Like anything else, legend wil grow around the unknown. Many people now might find it difficult to grasp, but in the 1960s people were sent to the Gulag for writing or speaking their thoughts and feelings. Closes example we have now is Putin with his remote asassintations. But these were common in country in the 1960s.
Why did these turbo sheet music players never sidetrack into😮 jazz and Ad-lib playing??? They can't even play ONE SIMPLE 12 bar blues!!! They can't play Beegie Adair by ear. I once asked one such turbo sheet music robot to play Beatles Yesterday for me....guess his reply: "Do you have a "score"?" Wanna bet Lang Lang's or Andras Schiff's reply would be the same? Damn, there's something wrong with the conservatory system.
Heavy metal of the 19th century. WHY DO WE RARELY see the classical robots smile??? HERE'S SOME REAL JOY TO THE WORLD: ruclips.net/video/teiH6IF_M_Y/видео.html Honestly, Liberace, who would invariably cut out the dull bits, - that's why his only Brahms piece was the Lullaby, - Carmen Cavallaro, Peter Nero, Beegie Adair, and, and, all the groovy piano friends do more for me. But thanks for the hard work, RIP Slava.
Why is he playing this like the last Schubert's Sonatas .. ? This is boring. But Richter playing Beethoven was always paralysed . Too much respect. No adventure, only some depressive sound. Like here, 35:54 , complete betrayal of the score. Ridiculous and arrogant, Remembers me Pogorelich in his eternal provocations.... 37:24 aha ... Sviatoslav suddenly waking up ... But this is not the case by Scriabin, Prokoviev and Schumann. And especially Schubert, where Richter is for me the greatest of all.
Talking about arrogance! That would be you. You certainly are entitled to your opinions,but don’t insult others, who dare to have their own ones! Putting down one of the greatest performers of Beethoven( by too many for you, to argue) makes you look small.
Ludwig Van Beethoven (1770-1827) Piano Sonatas Opus 109,110 & 111
Listen to our latest mastering update: bit.ly/3sE22dQ
🎧 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…
*Click to activate the English subtitles for the presentation* (00:00-02:10)
Piano Sonata #30 In E, Op. 109 - 1. Vivace Ma Non Troppo, Adagio Espressivo (00:00)
Piano Sonata #30 In E, Op. 109 - 2. Prestissimo (03:02)
Piano Sonata #30 In E, Op. 109 - 3. Gesangvoll, Mit Innigster Empfindung (05:23)
Piano Sonata #31 In A Flat, Op. 110 - 1. Moderato Cantabile, Molto Espressivo (18:09)
Piano Sonata #31 In A Flat, Op. 110 - 2. Allegro Molto (24:34)
Piano Sonata #31 In A Flat, Op. 110 - 3. Adagio Ma Non Troppo (27:02)
Piano Sonata #31 In A Flat, Op. 110 - 4. Fuga: Allegro Ma Non Troppo (30:59)
Piano Sonata #32 In C Minor, Op. 111
1. Maestoso, Allegro Con Brio Appassionato (38:43)
2. Arietta: Adagio Molto Semplice E Cantabile (46:49)
Johannes Brahms (1833-1897)
Ballade in G minor, Op.118, No.3 (1:02:37)
Intermezzo in E-Flat minor, Op.118, No.6 (1:06:06)
Intermezzo in C Major, Op.119, No.3 (1:11:22)
Frédéric François Chopin (1810-1849)
Nocturne in F Major, Op.15, No.1 (1:13:42)
Piano : Sviatoslav Richter
Live recording : The 28 November 1963, at the Leipzig Gewandhaus
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2
❤️ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
Lorsque Richter a joué (disons) Beethoven, c'est Beethoven qu'il voulait que vous admiriez, et non Richter. "La nature de l'interprète - et sa grandeur - est d'être un miroir", a-t-il dit un jour. "Je ne suis pas absolument stupide, mais je n'ai aucun talent pour penser, que ce soit par faiblesse ou par paresse ; je sais seulement réfléchir : Je suis un miroir". En "réfléchissant" une pièce musicale - en communiquant pleinement et clairement sa structure et son caractère -, Richter a cherché à tirer un style approprié de la musique elle-même, et non à lui imposer un style personnel donné. Il peut être difficile de prédire à quoi ressemblera le son de Richter d'un morceau à l'autre, en raison de son engagement à répondre aux différents besoins des différents styles de musique.
Or, Richter n'était pas un exécutant à sec, et n'était pas au-dessus de certaines intrusions créatives de son cru - ses propres altérations révélatrices de la dynamique, du phrasé ou du rythme - mais toujours au service des idées du compositeur ; son but était toujours de laisser la musique parler directement autant que possible. Sa priorité, comme celle de Schnabel, a toujours été la substance musicale plutôt que l'effet instrumental. Son professeur Theodor Leschetizky a dit un jour à Schnabel : "Tu ne seras jamais pianiste. Vous êtes un musicien". Il semble étrange de dire une telle chose de Richter, dont les prouesses techniques faisaient l'envie des autres pianistes. L'agilité de la gymnastique, la palette tonale et dynamique, la précision du phrasé, la gamme expressive allant du lyrisme chuchotant à l'explosion volcanique, la maîtrise à grande échelle du rythme dans des tempos allant de la quasi immobilité à la frénésie, cette fabuleuse main gauche, tout cela était admiré à juste titre. Sans parler des exigences très élevées qu'il s'imposait à lui-même, alors qu'il travaillait avec ferveur à la perfection, en répétition, en concert et en studio d'enregistrement. (Sur son enregistrement de la Sonate "Appassionata" de Beethoven, réalisé aux États-Unis en 1960, il a déclaré qu'elle n'était "pas particulièrement bonne" - une opinion qui étonnera quiconque l'entendra).
Pourtant, les objectifs de Richter n'ont jamais été finalement pianistiques : il a utilisé le piano pour aller au-delà du piano. Il a toujours été modeste en ce qui concerne son équipement technique. Il a dit un jour : "La technique, pour moi, c'est l'enthousiasme. Tout est une question d'esprit - et de liberté. Exercices, gammes, Hanon, Cramer, Clementi ... pas une seule fois dans ma vie. C'est dégoûtant !" Et il faut rappeler qu'il a commencé tardivement comme pianiste de formation, et qu'il a grandi en pensant peu à la technique en soi, jouant de la musique orchestrale et de l'opéra aussi facilement que de la musique pour piano seul. C'est une éducation qui l'a naturellement amené à faire passer la musique avant l'instrument.
Mussorgsky - Pictures at an Exhibition (piano) / NEW MASTERING (Century’s rec.: Sviatoslav Richter): ruclips.net/video/B7e3xpOuvdQ/видео.html
Ludwig Van Beethoven PLAYLIST (reference recordings) : ruclips.net/video/aI0FhkCnLoc/видео.html
Greatest recital ever. How not to cry ?
When I look at Beethoven’s face while listening to these variations, as tortured as they are in places, I sense depression, and frustration. It feels as though he suffered from what today would be recognized as clinical depression, and you sense it not only during the dark minor key passages but also in some of his reflective melodies in major keys, such as you hear at 19 minutes in this recording: this is not happy music; this is the sound of musings in a depressed mind. Lord knows, if he was already significantly deaf by this time, bearing in mind that he was also a performing musician, both professionally and socially, he would be constantly reminded of his problem, especially when working or making music with friends. One can feel when he is at work alone: there is a kind of intense sadness interspersed with feelings of joy - the kind of unspoken sensuous joy you get from the beauty of melodies. Whether he got that from his own melodies or from fragments of Haydn and others that he liked, I don’t know, but sometimes you can feel it. I sense it in fragments of his piano sonatas; I don’t feel it in the large works such as the Missa Solemnis or the choral section of the ninth symphony, where I feel a professionally fulfilled Beethoven being well paid for his work. I don’t know whether this is factually correct; I just feel it that way. There are parts of the big piano sonatas, notably the Hammerklavier, where he is struggling with frustrations and the emotional evidence is pouring out; at these times, it feels as though he has lost the sonata form and he is wandering around with whatever comes into his head. In this recording you feel it … and then he gets a big idea and starts ‘Les Adieux” - “screw the rules; I’m fed up and I’m just writing down what I want and someone else can rewrite a clean copy if they want to get people playing it …” Les Adieux is so intense: it starts out as a formal piece and then goes berserk as the umbrage and frustration starts coming out; I wonder what was bothering him at the time; maybe a musicologist with the knowledge of history can answer that for me.
Because writing is hard these days, here's what I think Beethoven was actually trying to achieve in the words of GPT. Regardless of his emotional state, I think there is profound cohesion and intention behind these sonatas, albeit perhaps through a lens of the darker aspects of existence.
"
Beethoven's last three piano sonatas (Op. 109, Op. 110, and Op. 111) are not merely a collection of compositions; they form a cohesive trilogy that delves into the profound enigma of human existence. Far from evidencing a lack of ideas, the so-called "wanderings" in these pieces are intentional, weaving a tapestry of complex emotional landscapes that evoke the lofty, often disorienting journey through life.
Op. 109 opens with a serene, almost nostalgic theme, setting the stage for a voyage through the innocence and complexities of existence. The subsequent variations grow increasingly introspective, reflecting on personal growth amidst life's challenges. This sonata, with its final movement of transcendent variations, suggests a contemplation of life's fleeting moments and the personal transformations they engender.
Op. 110, in contrast, introduces a darker, more turbulent narrative. The central movement, marked by a mournful arioso dolente followed by a fugue, portrays a profound struggle, a descent into despair. Yet, this is followed by a miraculous recovery in the final movement, where themes of renewal and resurrection emerge, symbolizing hope and rebirth from the ashes of hardship.
The trilogy concludes with Op. 111, a sonata that starts with a stormy and tumultuous first movement, reflecting the harsh realities and struggles of life. However, it is the final movement that marks Beethoven's ultimate departure from the temporal to the ethereal. The theme and variations ascend into a realm of peace and spiritual liberation, suggesting an acceptance of life's absurdities and a transcendental resolution to the existential drama.
These sonatas collectively explore the absurdity and drama of existence, capturing the cycle of life-from innocence through adversity to enlightenment. Beethoven’s compositions transcend mere musical structure; they are profound meditations on life itself, inviting listeners to ponder their own journey through the complexities and ultimate possibilities of existence.
"
Never heard someone else can make such a sound like S.Ritcher in this Beethoven No.32, It fascinate me every time when I listen to it.Thank you!
It is indeed one-recital-in-a-life-time or a recital on an island.
The original radio broacast talked about a 6 minute applause between the brahms encores and the Chopin .....incredible!!!A pity the commercial CD left the encore opening Brahms OP118(1) out.Probably due to the time limit allowed on the 80' cd.
@@eddyhans5365 I fully agree!!
There are many fine performances of this work. This one is brilliant.
I'm in the process of listening to this whole set by Richter. In the comment above i was referring to his interpretation of Op. 109.
I remember the buzz he stirred when he first played in London in the 60's. The consensus among my circle of music lovers was that no one would hear those pieces the same way again. Sharp lines, extraordinary technique and enormous intensity.
Mais quel génie ! Richter nous offre ici le bonheur absolu, la grâce universelle ! Amazing !
Merci d'avoir mis en ligne cet enregistrement.
Ascoltando le ultime sonate di Beethoven (inclusa la 29a) eseguite da Richter, ho pensato che si sentissero flussi di musica mozzafiato da molti pianisti eccezionali. Ma solo a Richter si sente e si vede il tempio della musica. Richter è un grande architetto! Слушая последние сонаты Бетховена (включая 29-ю) в исполнении Рихтера, я подумал, что у многих выдающихся пианистов мы слышим захватывающие потоки музыки. Но только у Рихтера мы слышим и видим храм музыки! Рихтер - великий архитектор.
The 3rd movement of Op 109 is exemplary. I do believe it's the most impressive recording of this masterpiece...
Agreed
Pollin'is isn't so bad either.
I'm very fond of Myra Hess
Here are three of the five sonatas of the so-called "third manner" of Betthoven. Each of these five sonatas has a form and an expression of its own. In his third manner, Beethoven re-invented the global forms of his work in an often surprising way. The same is true for his last quartets.
Svitaoslav Richtar is an outstanding interpret of these surprising poems. This recording is a great masterwork.
thank you for the beautiful and insightful words Gérard. Im a composer in training who think of Beethoven as a teacher and a great master to learn from. I believe the late Beethoven works were far far ahead for its time.
@@remon563 For sure Among romantic great composers, only Liszt, Schumann and Wagner understood and defended them.
Wunderschöne live Aufführung dieser perfekt komponierten Meisterwerke in verschiedenen Tempi mit entschiedenem und zugleich anmutigem Anschlag sowie perfekt kontrollierter Dynamik. Bestimmt der genialste Pianist im 20. Jahrhundert!
I am amazed by his reading of the C major Intermezzo Opus 119 of Brahms. Most pianists usually speed through it and he, who was a speed demon, takes it at such a leisurely pace. I like it.
WHO MASTERS THESE RECORDINGS? FANTASTIC JOB!
About Sviatoslav Richter, the legend commenced, then gathered force, during the fifties when it was rumored that there was a pianist in Russia who caused even such formidable colleagues as Emil Gilels to exclaim in awe and amazement. Expectations were raised still higher when Julius Katchen, and later Lazar Berman, claimed that Richter was, quite simply, a ‘’non pareil’’, a pianist whose titanic powers forbade even whispered comparisons.
During the sixties Richter at last appeared in the West. Packed houses in London and New York awaited his arrival with baited breath, but although Richter’s greatness was beyond doubt he was plainly and understandably a frightened man. Anticipation pulsed at fever pitch and the atmosphere at both the Royal Festival Hall and Carnegie Hall was fraught with tension. Perversely Richter began hi three London recitals with a stunning Haydn and Prokofiev programme, only to become increasingly nebulous and withdrawn in Chopin and Debussy, Schubert and Schumann, lost and confused within his own oddly impenetrable reverie. The same happened in New York where Richter’s fascinating if very fallible readings were permanently captured on record by CBS.
And what of Richter’s Bach, Mozart and Beethoven, his Brahms and Liszt, Scriabin and Ravel ? During the following years the answers came thick and fast but were often tantalizing and rarely what anyone expected; sometimes baffling, sometimes frightening in their almost manic intensity and conviction. Idiosyncratic, plain-speaking, titanic, reserved, of a scarcely credible lyric virtuosity and perhaps above all, profoundly enigmatic, Richter remains one of the greatest recreative artists of all time..
Mussorgsky - Pictures at an Exhibition (piano) / NEW MASTERING (Century’s rec.: Sviatoslav Richter): ruclips.net/video/B7e3xpOuvdQ/видео.html
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What does Morrison mean by "recreative artist"? Any thoughts?
@@TiticatFollies Yes, he's an idiot..
only Arrau...
Magnificent the definitive performances, especially op. 111. First a titanic struggle against forces [internal & external]; then a hard-won piece and a drifting off into paradise.
I agree on the quality but would hesitate to use the term definitive for these interpretations. I think they do belong to the few really outstantding ones, in the sense that they really stand out, but have listened to other distinctive performances (Benedetti Michelangeli or, more recently Kun-Woo Paik), such that make you feel you are hearing Beethoven's sonatas for the first time.
Bravo !! El intérprete,
genial.
El compositor ,
insuperable, admirable .
Fue y es la excelencia, el mejor. ❤
A total legend of pianists.
Great artistry and insight.
Благодарю за прекрасное исполнение любимого Бетховена
interprétation magistrale et intérieure, si beethovenienne !
Yannick Girouard
A genius Richter was. Bravo 👏
💙💙💙
Amazing!
Incredible Richter delivered again! My favorite Sonata #32 sounds very modern, almost jazzy ( Arietta), transported from the beginning of 19th century into the mid 20th!
What a delight! Thank you
Exactly! I always think: how did Beethoven know about jazz? He was 150 yrs ahead of it!
Whoever disliked this has neither ears nor anything between them.
You are right 🥰🥰🥰💞💞💞🦋🦋🦋
En 1963 en la ciudad alemana de Leipzig, donde se encuentra sepultado el genio de la mùsica Juan Sebastiàn Bach, el renombrado pianista ruso Sviatoslav Richter, de refinada tècnica y virtuosismo, brinda una funciòn donde ejecuta las sonatas 30, 31 y 32 del eximio compositor Ludwing Van Beethoven, con maestrìa y solvencia que quedan plasmada en la presente grabaciòn.
Great recital overall, but the real gem is opus 111, Beethoven's last piano sonata -- there is so much one can say about this performance, but I'll stop with just noting the incredible contrast between the two movements, and the strong rhythmic pulse throughout, the spiritual depth, etc...
Well said. While I have always been a big admirer of the late Beethoven, Op. 111 was not among my favorite-- until I heard this version. Richter's "strong rhythmic pulse," as you mentioned, is a real revelation here.
The sound engineers for this recording are third rate. Not only is every cough recorded but coughs by everyone within five miles were added to drive listeners CRAZY
@@NooYawka True, sadly
@@andyschnabel5225 Indeed-other pianists slow this second movement of op 111 so much...far away from the value of the notes(demisemiquaver or 32nd note).They play it like crotchet(that is quarter note)....Only Richter sets the things straight!!!
@@NooYawka Get used to it. In a live concert, you have even more distractions, like visuals or the smell of a neighbor. ;)
What a great treat.
Thanks for posting this. Beethoven’s sonata no 30 is my favorite Beethoven sonata. This work in the hands of Richter is like a religious apotheosis. The third movement is especially amazing.
One thought that I had while listening to these sonatas is how the no 32 stands out. It consists of two movements like the no 27 and it lacks the fugue unlike many of Beethoven’s later period sonatas or is it that Beethoven has transformed the fugal form in this sonata?
You welclme :-) If you talk about the arietta, it's more of a theme that comes with a series of variations :-)
Classical Music/ /Reference Recording yes. After reflecting more on this and discussing more with friends in music, I’ve come to the following conclusion: Beethoven meant the sonata no 32 to be a work based on the duality of earth (the first movement in c minor) and all its suffering and the second movement in C major (representing heaven and the transcendent). Also, my reading of Thayer’s Life of Beethoven convinced me that this work was always intended as a work in two movements. Now, why the variations? We will never really know. But I believe it is because unlike the earthly, the heavenly cannot be known directly. The structure of thema and variations is a way of trying to comprehend the essence of something through successive elaboration. This to me is what underlies the variations form of the second movement of Beethoven’s last piano sonata. The perfect examples of this are the third movement of Beethoven’s sonata no 30 and also Bach’s Goldberg Variations. In each of these works, the theme is recapitulated. But somehow it’s not the same. In some profound sense, the journey of the variations leads one to a deeper understanding of the original theme.
Teddy, we have just discovered your comment, thank you this is a very interesting analysis :-)
, y los ingleses aprovecharon los conocimientos
Se produjo un error. No envié ninguna respuesta.
Thank you for beautiful music .
:-)
I was reading the comments and it is so beautiful to see so many very knowledgeable about something. I listen but I am not capable of understanding the fine points. I wish I could. You are lucky
Same, same.
To those 31 who pressed thumb down - that is not the download button!
The Arietta almost seems to float along on some heavenly cushion...
Thanks.Great posting.
I love this performance
Excellent upload-good sound.
Thanks ❤️❤️.
molte grazie,,signore.
... come avrei voluto esserci io a questo concerto!
Amazing recording!
Overall I find, you can hear Richter struggling with the sonatas. The struggle of a strong will to express, what’s written in the score. Taking risks, no fear of wrong notes. So exciting!!
спасибо!
I'm loving this
I'm loving that you're loving this.
Can you post also Gilels remastered version of op. 109? Thanks
Gracias !!!
Tormented yet happy!
at 33:ish-love the melodies starkly ranging deep left to high and less mighty right hand-whoops just saw that part was a fugue (bipolar?)
❤
no. 29 live in prague is also amazing!
No.29 what? Could ypu please clarify your sentence? I am just curious. Thank you.
Francis UK 29th piano sonata of beethoven, of course.
You are right, We hope to publish the recordings in Prague which are exceptional :-)
@@francisuk9576 Francis what? ... sorry no offense pls
grazie
grazie di nuovo
53:04 Beethoven invented jazz and find in Richter his Charlie Parker
You noticed that too! Amazing: modern 60s of XX century structure of XVIII cent composition. Beethoven has been my favorite composer through my life, and there is so much room to grow. Sonata #32 replaced sonata #14.
I’ve been lucky to hear Richter and Gilels- two piano titans in life concerts at the hight of their performances.
You can say Beethoven invented tango, too! String quartet #14, Op.131.
Мотивы танго слышны в струнном квартете #14, Op. 131. Задолго до аргентинского танго.
👏🏻
15:52 does make sure melody (right end) wins victoriously over the ground swelling eruption to then (17:07 continue on obediently, or???
In 1963, Richter recorded the best version of the Wanderer Fantaisie of Schubert
🙏🙏🙏
The impossible genius of this man: can you imagine sitting down to write a piece of music in the style of an early nineteenth century symphony, where you were supposed to stick to a bunch of rules if you wanted to get it published, and you haven’t done one before, and you go, “Fxck this: I’m starting this with a dominant seventh and I don’t care what ‘Uncle Franz’ says”. This isn’t the act of composing: this is little bits of music coming to mind and forcing their way out onto paper. He sits down to try writing a symphony, he knows it’s got to be done but he’s got a dominant seventh to put on paper and, well, “lets see if this works …”!
Bem, essa turma dos "comentários," sabe tudo! Que bom! Termino com Uau!
was there a flu outbreak at the time?
It was nove mber1963-a terrible winter as far as I can remember!
Había oído a Kempf y a Baremboim,el arranque del prestíssimo de la 30 nunca lo había escuchado así.¿inmejorable?...
Nunca hemos escuchado eso en otros lugares y, además, jugado en público
20:19
That F key above middle F is flat. I’m surprised someone didn’t correct it at the first opportunity!
Wait a second … they did!
Love this.
I just don't understand why it is written 1956 while in the description it is written it was recorded on 28th November 1963. 1956 or 1963?
Thank you.
It is 1963 and the Cd has been issued years ago.He played some Brahms as many encores.One of the best recitals of R ever.
Doremi Fasolla All right, thank you a lot. Then why is it written 1956?
Error its 1963 of course, Thanks for this attention :-)
If 1963 is correct, this concert took place six days after President Kennedy’s assassination. Very likely intended as a tribute, I would think.
@@peterheiman8621 Richter was a Soviet, Leipzig was in East Germany, and the cold war was in full swing
Von Beginn an steht der (etwas hochgestimmte?) Steinway unter Hochspannung und Richter hat diese das ganze Konzert über in "seinem" unverwechselbaren musikalischen Griff: Überall fließt diann die "richtige", dem jeweiligen Werk entsprechend angepasste, Strom- (Ton) Frequenz - im Großen wie in jedem Detail: Wer will diesem Pianisten jemals gleichkommen...?! - (Vielleicht ein Daniil Trifonof?)
I wonder if this was performed on a Bosendorfer piano --- the dark timbre makes me suspect this...
it could will be since Bosendorfer was often used by Richter.
No, it is certainly either a steinway or a Blüthner made in Leipzig!
@@gunnarkoss9262 In the Gewandhaus should have been Blüthner at that time.
god tier
why doesn't he do those 9 or so chords ff? (at around 36 minute mark?)
ライプツィヒの夢の一夜！私は日本のリヒテル崇拝者です。
Apart to Arrau maybe the most outstanding pianist ever.
nothing surpasses Schnabel with Bach, Beethoven, and Schubert.
Arrau schmau.... his readings of Beethoven are horrible... so controlled and over intellectualized... no spontaneity whatsoever....
You forgot Martha Argerich, Glenn Gould, Walter Gieseking, Clara Haskil -- and a dozen of others... :-)
@@TJFNYC212 I agree and furthermore extremely slow in Beethoven OP 111'arieta).Just like Barenboim-UNACCEPTABLE!!
@@TJFNYC212 I also tried to listen through all Beethoven Sonatas with Arrau. It has been a relief to hear sombody else. Arrau in the studio is breathtakingly boring.
I wonder where the thumbnail is from
Thank you for this! Richter, Pianist of the Century! .... but, have you forgotton Schnabel, my friend?
Schabel is in our collection :-) Its integral is a very valuable document. However Richter is more powerful. More relief in the dynamism. We speak in comparison of this particular recording which crushes the discography. For example, at 53:04 he is the only one to play the Arietta with as much power, nuance and technical precision.
This music is just too great to be defined by the recordings of only one pianist. My favorite Beethoven sonata recordings up to date have been those by Schnabel, Gilels and Backhaus. But differ significantly from each other, with each bringing something different and magnificent out of the music. After this upload I will start to investigate Richter's Beethoven sonatas also more seriously. These recordings are excellent!!!! And the last one that I am also interested in investigating are the 1970's recordings by Annie Fischer. The bit that I've listened to her sound just magnigicent. So to summarize, don't limit your enjoyment of these great sonatas to just 1 artist. And Richter wasn't the pianist of the century. If you compare him with other great like Backhaus, Gieseking, Gilels, Schnabel, Serkin and Sofronitsky (my top favorites), on what basis can you call him out above these other names? Richter is one of the grestest ever, but no one was SO great above everyone else that he alone can be called THE pianist of the century- unless that is just your own personal preference.
If you browse the playlist of this channel, you will notice that there are several great versions of Beethoven's piano sonatas and we will continue to add some. Yes this recording is exceptional. A miracle played live. It is a record of the century. Do not confuse recording of the century and pianist of the century.
Listen to the 1957-8 recordings of Annie Fischer playing the "Late Beethoven" sonatas. I like them a lot also
Schnabel certainly doesn't have the roar you hear 2:10 - 2:30 as an example
46:49
28:07
36:26
나는 지금 작고 조용한 연못가에 있습니다.
^^
The person with the sniffles is really getting on my nerves.
Ad Vitam Aeternam
F I A T ! ASTA POMPEJA ( = A S T I ) , ITALIA
There is no such thing as a reference recording. These are all matters of opinion.
@Möbius Strip Cats have a deep appreciation for piano music I've concluded
One other thing that helped built the mystique around Richter was that in the 1960s very few Russians were allowed to travel to the west. Like anything else, legend wil grow around the unknown. Many people now might find it difficult to grasp, but in the 1960s people were sent to the Gulag for writing or speaking their thoughts and feelings. Closes example we have now is Putin with his remote asassintations. But these were common in country in the 1960s.
too many people coughing is really annoying.
The atmosphere of the live performance :-)
Robinson Kimberly Johnson Angela Hall Mary
한참 연주하는 도중에 광고를 찡겨늫는 만행은 대체 뭐냐? 한 두 번도 아니고
Why did these turbo sheet music players never sidetrack into😮 jazz and Ad-lib playing??? They can't even play ONE SIMPLE 12 bar blues!!! They can't play Beegie Adair by ear.
I once asked one such turbo sheet music robot to play Beatles Yesterday for me....guess his reply:
"Do you have a "score"?" Wanna bet Lang Lang's or Andras Schiff's reply would be the same?
Damn, there's something wrong with the conservatory system.
For bach lovers i invite you to listen to my original music inspired by bach.
Christ, the coughing! If you can't control it while in a concert you should leave.
Goddamn coughers every live performance! Ruining master Richter's recording, angery face
Heavy metal of the 19th century. WHY DO WE RARELY see the classical robots smile???
HERE'S SOME REAL JOY TO THE WORLD:
ruclips.net/video/teiH6IF_M_Y/видео.html
Honestly, Liberace, who would invariably cut out the dull bits, - that's why his only Brahms piece was the Lullaby, - Carmen Cavallaro, Peter Nero, Beegie Adair, and, and, all the groovy piano friends do more for me. But thanks for the hard work, RIP Slava.
Why is he playing this like the last Schubert's Sonatas .. ? This is boring.
But Richter playing Beethoven was always paralysed . Too much respect. No adventure, only some depressive sound. Like here, 35:54 , complete betrayal of the score. Ridiculous and arrogant,
Remembers me Pogorelich in his eternal provocations....
37:24 aha ... Sviatoslav suddenly waking up ...
But this is not the case by Scriabin, Prokoviev and Schumann. And especially Schubert, where Richter is for me the greatest of all.
lol
You are joking. ;)
@@christophbader3713
Not at all.
Talking about arrogance! That would be you. You certainly are entitled to your opinions,but don’t insult others, who dare to have their own ones! Putting down one of the greatest performers of Beethoven( by too many for you, to argue) makes you look small.
@@stonefireice6058
I do not insult anyone.
I am talking about music.
So, if you want, or can, talk about music too, instead insulting me.
Браво!
grazie