“Sviatoslav Richter’s Schumann was always special – as this superlative compilation confirms: poetic, yet muscular, and with a vivace staccato in the Etudes as light as thistledown. Performance: 5 [out of 5], Sound: 4 [out of 5]” — Paul Riley, BBC Music Magazine
Having learned the fundamentals of music from his father, Sviatoslav Richter taught himself the piano and had already given public concerts before entering the Moscow Conservatory in 1937. While still a student, Richter won first prize at the All-Union Contest of Performers of 1945. His playing earned him considerable renown, and by the time of his graduation in 1947 he had devoted fans. In 1949 he garnered the coveted Stalin Prize. Richter gave the 1942 premiere of Sergei Prokofiev’s Piano Sonata No. 6 — the composer’s first work in that form for years, and the first one he did not premiere himself. This resulted in wild acclaim for both performer and composer. Thereafter, Richter was a great proponent of Prokofiev’s music, premiering also the Seventh and the Ninth Sonatas, the latter of which is dedicated to him. Though word of Richter’s excellence (and occasional poor-quality recordings) had spread outside of Russia, his foreign engagements were limited to Eastern Bloc countries (and, in one case, China) where Soviet officials felt there was reduced risk of defection. However, his 1958 performance of Prokofiev’s Fifth Piano Concerto with the Philadelphia Orchestra (on tour in Leningrad) generated such excitement that he was finally permitted to tour the United States, further bolstering his reputation as a virtuoso. Engagements in all of world’s musical centers followed. Richter was known as a pianist of transcendent abilities, particularly adept at highlighting the nuances of different styles. Though his interests focused primarily on music of Beethoven, and Prokofiev, he was also highly regarded for his Schubert, Schumann, Bach, Debussy, and Ravel; and in the early 1960s he made a memorable recording of Benjamin Britten’s Piano Concerto with the composer conducting. Richter did not favor studio recordings; therefore, most of his recordings are from live performances. Many of them, particularly those from Soviet concerts, suffer from indifferent sound quality and excessive audience noise, but his playing had an electric quality that transcended these handicaps. The pianist earned a reputation for being difficult and aloof. He was notoriously apt to cancel performances on whims, or arrive late without explanation or apology. However, those who heard him were rarely disappointed. He preferred intimate concert settings over big auditoriums, and thus returned many times to the Aldeburgh and Spoleto Festivals. He was the centerpiece of the Fètes Musicales, held annually beginning in 1964 at Grange de Meslay, near Tours.
Richter’s magnificent Melodiya/MK recording of favorite Schumann piano works, including the complete Symphonic Etudes, returns to the international catalogue on Alto — at an incredible bargain price!
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Études symphoniques, Op. 13
Bunte Blätter, Op. 99 (selection)
In der Nacht, Op. 12 No. 5 live
Traumes Wirren (Fantasiestucke, Op. 12 No. 7) live