The best version of the sonata I've ever listened to. As clear as crystal, and very well-controlled passion. Richter's techniques and poetic sentiment with Richter's recklessness filtered. Perfect.
Well, I have said it before, Richter set the standard, that's why it is hard for some of us to waste our time listening to boring interpretations by other pianists.
@@vankasnak1 Well, well said. May I add that the third movement consists of not only very logical resolutions of themes, but the variations are inserted very sneakily and uniquely, giving advantage of many possible routes of creative construction and nostalgic answers involving 6th, 3rds, and 7ths combinations especially in his later works. Sounds grand and elegant. The accompanimental insertions then become the main theme, and exchanges throughout, it is a beautiful blend and certainly very catchy and rhythmically diverse. The insertions resemble a little of Hanon's or Czerny's flavor and has pivotal points that are very catchy. Beethoven and Bach to me has an incredible ability to hold onto the themes that were created by them in the past and knows just when to reinsert it to create tension and resolution. Where Bach and Beethoven differ is their objective and length of stay on a single theme. Beethoven can create four lines and can leave some of the themes hanging until resolved later, but also repeat some very emphatic themes directly by as I said, leaving some themes hanging. Also leaves a very impatient style entry of the themes with styled stretto transitions. My mom, a novice classical music listener, says that Bach has too many monotone lines whereas she is driven nuts by Beethoven's many themes appearing simultaneously and emphatically.
@@vankasnak1 Well, well said. F*ck all the other interpretations. They all suck, objectively and worst of all they lack the technical capacity so they make up with their facial expressions. Disgusting.
Masterful, superlative performance... Richter is one of few pianists that can still amaze me, even after listening to countless of his recordings throughout the years.
In his Notebooks, Richter said that op 101 was for him more difficult than op 111 or the Hammerklavier. The lyricism and emotional valence are evident here.
No one does this sonata justice like Richter. It's my favourite sonata and have heard too many other versions. This tiny first movement speaks so much to me about romantic love or the longing for it.
Wie wichtig ist es, gerade bei dieser Sonate von Beethoven, Architekt zu sein, das heißt, in beinahe jedem Takt eines Satzes zu überschauen, wo man herkommt und wo man noch hingelangen wird. Und wenn dann noch eine superbe Technik mit einem hinreißend schönen Klavierklang dazukommt, gepaart mit einer unwiderstehlichen Musikalität, die bisweilen mit einer quasi spontanen Komponente des virtuosen Überraschungsmomentes angereichert wird, etwas, was man vorher noch nie so gehört hat, dann heißt das Ereignis SVIATOSLAV RICHTER. Mir geht es ähnlich wie pianopera: dieser Künstler ist stets interessant, manchmal unberechenbar aber immer aufregend, ich mag ihn mit fast allem. Er war ein Titan der Klavierkunst, mit auch weichem Herzen. Wie er locker, wenn er in Topform war, die Weltklassepianisten auf die hinteren Plätze verweisen konnte, er, der ALLES bewältigte, und mit seinem phänomenalen Gedächtnis alle zu übertreffen in der Lage war. Die Götter haben Richter SO begünstigt, dass des Bewunderns kein Ende ist, denn bei ihm kam so vieles in nahezu idealer Weise zusammen, in pianistisch-anatomischer, intellektueller und allgemein künstlerischer Hinsicht. Er, der Große, war eine stupende Musikerpersönlichkeit, kompromisslos authentisch und in vielem rätselhaft, geheimnisvoll und unbegreiflich. Richter bleibt, solange die Menschen sind, denn Solcheiner stirbt nie!
If Google Translate was correct (a dangerous assumption, perhaps), here's berlinzerberus's comment in English: How important it is to be an architect, especially with this Beethoven sonata, that is, to see in almost every measure of a movement where you are coming from and where you will get to. And when a superb technique with a gorgeous piano sound is added, paired with an irresistible musicality, which is sometimes enriched with a quasi-spontaneous component of the virtuoso element of surprise, something that has never been heard before, then the event is called SVIATOSLAV RICHTER . I feel like pianopera: this artist is always interesting, sometimes unpredictable but always exciting, I like him with almost everything. He was a titan of piano art, with a soft heart too. How he could easily relegate the world-class pianists to the back seat when he was in top form, he who mastered EVERYTHING and was able to surpass everyone with his phenomenal memory. The gods have so favored Richter that there is no end to admiration, because with him so much came together in an almost ideal way, from a pianistic-anatomical, intellectual and general artistic point of view. He, the great, was a stupendous musical personality, uncompromisingly authentic and in many ways enigmatic, mysterious and incomprehensible. Richter remains as long as people are, for such a man never dies! (Also interesting observation--Richter is apparently the German word for judge.)
Das damalige Publikum in Moskau war echt glücklich, dass es solch eine fehlerlose und zugleich wunderschöne Aufführung dieses perfekt konstruierten Meisterwerks live hören konnte. Einfach wunderbar!
The contemporary audience in Moscow was truly happy, that they could hear such a flawless and at the same time beautiful performance of this perfectly constructed masterpiece in live. Simply wonderful!
@@MashedTubers Please learn a few other languages, it might help you... Beethoven was german, Richter was german and russian. Nobody should speak english here in fact...
Шедевр Бетховена и шедевр исполнения Рихтера. Потрясающая конструкция Бетховена нашла и своего испонителя!!! Слова бессильны передать гамму чувств при интерпритации Рихтера!!! Умопомрачительно!!!
Gefragt, welche Beethovensonate ihm am besten gefiele, nannte Richter die Nr. 28 A-Dur op. 101. Wie er sie selbst meisterte hat vor 7 Jahren "berlinzerberus" in seinem Kommentar umfassend und treffendst umschrieben.
