Word: sviatoslav
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Dates: during 1990-1999
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...second half of the recital comprised Perahia's magisterial reading of the Schubert C Minor Sonata D. 958. This interpretation was worlds away from the famous hair-sizzling live recording made in Budapest in 1958 (coincidence?) by Sviatoslav Richter-The tempi were less "hell" and more "high water." The beginning of the first movement, phrased to remind us of Beethoven's 32 variations in the same key was the first of many well-executed musical decisions that kept the audience rapt for the entirety of this very long sonata. Peheria was rewarded with three encores...
...greatest pianists of the century, a performer whose interpretive acuity and huge repertoire awed other musicians, Sviatoslav Richter, the subject of this engrossing video documentary, was also a fiercely private man indifferent to commercial success. Averse to concertizing in big cities, he instead drove the expanses of Russia, showering his genius on towns and villages. Bruno Monsaingeon, who has made several films about musicians, got the wary pianist to open up. Blending Richter's observations with marvelous archival footage spanning much of his life, Monsaingeon's documentary so generously displays the pianist's gifts and so vividly limns...
...pleasure of Great Pianists is in the listening, however, not in the debate over inclusiveness. All the significant performances of the century are here: Artur Schnabel's Beethoven, Wilhelm Kempff's Schumann, Sviatoslav Richter's Prokofiev, Walter Gieseking's Debussy. But Deacon was too knowledgeable, and too wily, to select only the gems that every piano lover may already have. More than a quarter of the music in the collection was previously unavailable on CD, and some pieces, such as Clifford Curzon playing Mozart's Piano Concerto No. 27, have never before been released commercially in any format. Deacon scoured...
...DIED. SVIATOSLAV RICHTER, 82, Russia's incomparable piano-poet; in Moscow. Virtually self-taught until age 21, Richter treated the piano like a soul mate, listening for the romance of Schumann or the fury of Beethoven. Perhaps he could not match Horowitz's brilliance or Rubinstein's panache, but showmanship was never paramount to him. "I don't consider the public," he told TIME. "My only interest is my approaching encounter with the composer...
...contain the emphasis usually accorded to them; in the context of historical performances, they appeared routine. But momentousness was, in general, not his goal. The defining trait of Ax's playing on Saturday was a striking immediacy. Rather than using time to create intense emotional drama, as Sviatoslav Richter did in his landmark 1960 performance with the Chicago Symphony Orchestra under Erich Leinsdorg, Ax manifested an incessant urge to build in an efficient and almost austere manner...