Jawad’s Classical Archives – Set 01, CD 010

Richter plays Tchaikovsky and Rachmaninoff’s Piano Concertos

My Opinion

No serious classical music collection would be complete without (many) recordings of the great Soviet pianist Sviatoslav Teofilovich Richter (1915-1997). Born in Zhytomyr (Ukraine), this giant of the keyboard was blessed with extraordinary technique, as well as phenomenal sightseeing and memory. His repertoire was one of the largest of any pianist, ranging from Bach to the modern works of the 20th century.

This disk groups two landmark works of the romantic Russian piano repertoire: Tchaikovsky’s famous first piano concerto, and the no less renowned Rachmaninoff’s second piano concerto. While the Tchaikovsky is very good indeed, there are other better versions around. I personally think that this interpretation falls short of greatness due to a certain”stiffness” that could have resulted from the rather tense reunion of two legends – Karajan and Richter – with strong personalities and decidedly rigid perceptions of how a work of such stature should be shaped. The Rachmaninoff, on the other hand, is another matter altogether. Here the pianist is given the freedom of expression needed by an artist of his caliber to put his stellar powers to the best possible use. The first movement of the work is a case in point. On the surface it may have slower tempi than most other great interpretations, yet the hypnotic effect on the listener is truly breathtaking. This is the same wizardry Richter achieves in some Schumann and Schubert works, and which makes his readings of these two romantic composers so captivating and unique.

Ignore the Tchaikovsky if you want – although it is still very enjoyable – and focus on the Rachmaninoff. There is no better second piano concerto anywhere. And the sound offered by the Deutsche Grammophon engineers is thankfully first class.

Reviews

“Although the late Sviatoslav Richter spent his later years concentrating on Bach, Beethoven, and Haydn, he never completely abandoned the music of his native country. His reading of Rachmaninov’s most popular concerto, captured in fine late-’50s stereo, is one of the most glorious ever recorded. Richter’s amazing technique is completely up to the demands of Rachmaninov’s difficult writing, and he plays the heart-on-sleeve melodies with such refined intensity that they never sound sentimental. This performance is a truly amazing example of great pianism, very strongly supported by the fine orchestra and its little-known conductor. Unfortunately, the accompanying Tchaikovsky is a dud. Karajan and Richter recorded this work together as a favor to a record-company executive, but they don’t seem to be in sympathy. The conductor’s excessive refinement holds the pianist back, and the result is much too restrained for the music. Never mind. The Rachmaninov alone is easily worth the price of this disc.” – Leslie Gerber on Amazon.com.

“We’re constantly meeting Richter in the role of deeply searching musician. So how refreshing to have this reminder of his virtuosity too. [The Rachmaninov] surely qualifies as a ‘great performance on record’; the CD catalogue would have been incomplete without it.

In the Rachmaninov Richter is no slave to the metronome. His opening tempo is considerably slower than the marking in the score (particularly the eight introductory bars), which involves him in rather more than a poco piu mosso between figs. 3 and 4 to get things into their proper stride. The slow movement in its turn is slower than the prescribed marking, just as the finale is much faster. Yet everything is done with such conviction that while listening you feel there could be no other way. Helped by Wislocki each movement seems to find a natural flow and to carry you along on its own tide. Second subjects yield up all their nostalgia without obtrusive rubato. And you could hardly hope to hear the finale launched with a more abandoned yet scrupulously controlled kind of scintillating brilliance. Never, though, is it playing that draws attention to itself at the orchestra’s expense. Duetting with individual instruments is close, and no felicities of scoring go unmarked. As for the recorded tone, it has exceptional succulence for its age and comes over splendidly on CD.” – Joan Chissell, Gramophone Magazine.

“This 1995 release from Deutsche Grammophon combines two memorable concerto recordings by Sviatoslav Richter. Almost all of Richter’s recordings are considered legendary — particularly since he did not like recording in the studio — but these are rightfully so. They were some of the first that were released widely in the west, where he was still something of a new talent in the late ’50s-early ’60s, although a middle-aged man by then. The Rachmaninov Concerto No. 2 with Stanislaw Wislocki and the Warsaw Philharmonic Orchestra dates from 1959 and was met with high praise from most for its detail and the depth of Richter’s knowledgable interpretation. It is not as ardent as most other pianists’ readings, but its clarity speaks volumes and can still move the listener. The Tchaikovsky, from 1963, with Herbert von Karajan and the Vienna Symphony, is also less affecting and, in some places, less dancing than expected. It may even seem stiff to some listeners, but again, there is no arguing with the sheer intelligence of the performance. Richter and Karajan worked well together here, with a common approach to the music. The sound quality of both recordings is very good, especially with the digital re-mixing helping to enhance the fine points of the music.” – Patsy Morita.