Commentaires client les plus utiles
|
|
1 internautes sur 1 ont trouvé ce commentaire utile :
5.0étoiles sur 5
A tresure for Richter's fan and all music lover, Jui 1 2004
Richter was an outrageous pianist; you may admire or disagree with his musical conceptions; but instead of that statement, you must recognize the presence of the genius in this unforgettable russian artist.
In this recording Richter hashigh and lows; his Haydn's sonate performance lacks of humor and spirit naif; his Chopin sounds cold; even expressive.
But listen Ravel's jeux; with the only exception of Cortot achievement's from 1928 , I've never heard such sound; loiaded with warm imagination and deep nuance.
The Prokoviev's sixth is the best of the record.
I've matched with Sandor; Bronffman and an ancient russian pianist Yuri Boukoff (not released in CD yet) and forgive all the items. It's a winner.
In general terms it's an important document that lets you approach to Richter's craft.
Buy this one.
|
|
|
1 internautes sur 1 ont trouvé ce commentaire utile :
4.0étoiles sur 5
Some highs and some lows, Janv. 5 2004
These discs are quite a mixed bag. Richter does not sound entirely at ease in all performances, most notably those on the first disc. He plays the Haydn admirably, but the sonata misses some necessary charm and humour. The Chopin pieces may be the weakest on the disc: although the 4th Scherzo has never been Chopin's masterpiece, there's still some fine wit and spirit inside, if played well. But Richter plays the piece too slow and serious. Compare to Ashkenazy, for instance, who is much better on this terrain. The Ballade is a little better, but it lacks charm and sounds nervous. Then the Rachmaninov comes. Of the four preludes that are listed on the disc, the only one I really like is the op.32.12. The others may be interesting additions to the entire set of twenty-four Preludes, but as solo-pieces they sound a bit clueless. So I don't think they are well-suited to a recital. Additionally, Richter is not really in his element here. He sounds somewhat confused and busy, unlike Ashkenazy, for example. OK, we've had the minor stuff. On to the good performances! The Ravel, the last on the first disc, is splendid: Richter plays with the least probable ponderousness in Jeux-d'eau, going almost to a higher realm. The entire second disc is great. The Prokofiev is the real highlight of the set: Richter may have excelled in every kind of music, but in Prokofiev he was simply from another world. The Sonata no.6 is a definitive performance, and the final movement, where Richter plays with a stunning sense of rhythm and incredible virtuosity, is one of his finest moments. But he hasn't finished with Prokofiev yet: no less than 12 shorter pieces (visions fugitives and a gavotte) follow as encores, and most of the pieces contain the same kind of madness as the sonata's fourth movement. Richter runs through them as if he was made to play this music. Follow a fine Debussy piece, two incredibly speedy Chopin etudes and a light Mazurka, all played with much relaxation and authority. The Revolutionary Etude could have been fierier, but ok. No real complaints about the second disc, except the overload of applauses maybe. Should you buy these discs? If you like great Prokofiev and Ravel, maybe. The nice packaging and the fine photos and essays in the booklet make this a real collector's item. But there are also less good performances on the discs, so ask whether you'd like to pay the full price for it. Sampling may be a good idea. Still recommended.
|
|
|
4.0étoiles sur 5
Richter live, for better and for worse, Mai 24 2003
These live recordings, taken from recitals in New York's Carnegie Hall and New Jersey in 1960, vividly capture Sviatoslav Richter's gargantuan technique and equally outsize musical personality.Not surprisingly, the Russian music receives close to definitive treatment, with the Prokofiev Sixth Sonata breathtaking in capturing both the hard-edged virtuosity of the outer movements and decadent elegance of the Tempo di valzer lentissimo third movement. The Rachmaninov Preludes are a feast of warm tone and clear textures. The Prokofiev Visions Fugitives, performed as encores at both concerts, slip by like the quicksilver glimpses of fantasy they are. The rest of the material is more controversial. The Haydn Sonata is notable for the incredible speed of its opening movement; the technique is dazzling but there is little else. The finale, oddly, proves to be on the sedate side. The Adagio, however, is beautifully shaped and balanced. The Chopin Scherzo and Third Ballade remind this listener of Horowitz, not in a good way: the music is driven too hard and loses poise, the end of the Ballade particularly difficult to endure in its overplayed clangor. Nevertheless, as a whole, these performances are vivid and essential documents of one of the great pianistic personalities of the twentieth century. The sound is clear and perfectly acceptable, though there is little "live" ambience.
|
|
|
Commentaires client les plus récents
|
~ Sviatoslav Richter
Voyez toutes les 12 plages de ce disque
