Schumann - Piano Sonata No. 2 in G minor, Op. 22 (reference recording: Sviatoslav Richter) 

Full Album available // Schumann: The Piano Works by Sviatoslav Richter 🎧 Qobuz (Hi-Res) cutt.ly/PegkI0ew Tidal (Hi-Res) cutt.ly/VegkOxET 🎧 Apple Music (Lossless) cutt.ly/xegkOH1K Deezer (Hi-Fi) cutt.ly/pegkPlSr 🎧 Amazon Music (Hi-Res) cutt.ly/6egkPOok Spotify (mp3) cutt.ly/AegkP3ng 🎧 Idagio (Hi-Fi) cutt.ly/5egf3JrW RU-vid Music (mp4) cutt.ly/YegkAfOR 🔊 Download the album (Hi-Res Master) cutt.ly/Classical-Music-Reference-Recording-Website-Schumann-SRichter Robert Schumann (1810-1856) Piano Sonata No. 2 in G minor, Op. 22 00:00 I. Vivacissimo. So rasch wie möglich (2024 Remastered, Milan 1962) 05:31 II. Andantino. Getragen (2024 Remastered, Milan 1962) 10:29 III. Scherzo. Sehr rasch und markiert (2024 Remastered, Milan 1962) 12:17 IV. Rondo. Presto (2024 Remastered, Milan 1962) Piano: Sviatoslav Richter Recorded in 1962, at Milan (Live Performance) New mastering in 2024 by AB for classicalmusicreference.com/ 🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK 🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL 🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB ❤ Support us on Patreon www.patreon.com/cmrr/about SECOND SONATA Op. 22 Here we have the Sonata of Joy. It was developed from 1833 to 1838, five years of maturation. From the very first chord (and always with the indication "as fast as possible," which no longer surprises us), the arpeggio foundation is illuminated by this morning cry; everything is rapidly carried away by the development (if this word is even valid with Schumann). Of course, the development is syncopated. Very quickly, a motif B appears, also anxious, seized by the spirit of movement. Developments, reprises, adjacent figures make a reprise of the second motif just the material of a breath of breeze. Naturally, despite the "as fast as possible," a "piu mosso" throws the initial motif into its strongest light. The Andantino is built on a youthful Lied. Horizontally, the bass third has been amputated of its first eighth note. Schumann knows the power of these "mini-games" with time. A hesitation has been admitted. Now, the motif will traverse a space of pensive Variations, somewhat heavy with that melancholy which always has a slight echo of emptiness in Schumann: and peacefully da capo and coda end; everything finishes in the lower register. The Scherzo is brilliant, dancing on the movements of stretched basses and enveloping a single Trio-alternativo without shadows. The "Rondo presto" envelops a moment of reverie, twice, to throw itself "prestissimo" into a short and triumphant Cadence. Umberto Masini: "Just as the man Richter is simple and modest, so is his music. The sounds of his piano touch a daily nobility, and in his art we can invariably discover the charm of sincerity, the greatness of enduring values. Every time one hears Richter, in any branch of his vast repertoire, one uncovers truth and simplicity. Notice his tempos, always surprising and enticing. Let yourself be captivated by his dreams, by the wonderful sensitivity of his spirit. And if you attend one of his concerts, try if possible to sit in the front rows of the hall. Not only will you be able to see Richter up close, observe his expression, and admire the mysterious play of his fingers, but you will also notice his curiosity, his interest in you, the audience. And at the end of the concert, when Richter comes to the front of the stage to greet and thank you, he will not only ask for applause, but will want to know if you truly enjoyed the concert. He will search the stands for the looks you have thrown him and will immediately discover the response you wish to give him. So look at him: look at him with gratitude. He will understand, and finally, momentarily releasing his stern expression, he will give you a broad disarming smile, letting you know that he, like you, is happy. Do not ask him for an autograph, as one does with divas. For Richter, a glance is enough. Your glance." Other Album available // Beethoven: Piano Sonata No. 23 in F minor, Op. 57 "Appassionata" by Sviatoslav Richter 🎧 Qobuz bit.ly/3tdUd1m Tidal bit.ly/3tin9VY 🎧 Apple Music apple.co/3UtpjNJ Deezer bit.ly/3GzAfRO 🎧 Amazon Music amzn.to/3NflbfW Spotify spoti.fi/3GB64Ke 🎧 Napster bit.ly/3NhP9jB RU-vid Music bit.ly/3NhTHq8 Robert & Clara Schumann PLAYLIST (reference recordings): ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-uoObe3cyrKY.html

SECOND SONATA Op. 22 Here we have the Sonata of Joy. It was developed from 1833 to 1838, five years of maturation. From the very first chord (and always with the indication "as fast as possible," which no longer surprises us), the arpeggio foundation is illuminated by this morning cry; everything is rapidly carried away by the development (if this word is even valid with Schumann). Of course, the development is syncopated. Very quickly, a motif B appears, also anxious, seized by the spirit of movement. Developments, reprises, adjacent figures make a reprise of the second motif just the material of a breath of breeze. Naturally, despite the "as fast as possible," a "piu mosso" throws the initial motif into its strongest light. The Andantino is built on a youthful Lied. Horizontally, the bass third has been amputated of its first eighth note. Schumann knows the power of these "mini-games" with time. A hesitation has been admitted. Now, the motif will traverse a space of pensive Variations, somewhat heavy with that melancholy which always has a slight echo of emptiness in Schumann: and peacefully da capo and coda end; everything finishes in the lower register. The Scherzo is brilliant, dancing on the movements of stretched basses and enveloping a single Trio-alternativo without shadows. The "Rondo presto" envelops a moment of reverie, twice, to throw itself "prestissimo" into a short and triumphant Cadence. Umberto Masini: "Just as the man Richter is simple and modest, so is his music. The sounds of his piano touch a daily nobility, and in his art we can invariably discover the charm of sincerity, the greatness of enduring values. Every time one hears Richter, in any branch of his vast repertoire, one uncovers truth and simplicity. Notice his tempos, always surprising and enticing. Let yourself be captivated by his dreams, by the wonderful sensitivity of his spirit. And if you attend one of his concerts, try if possible to sit in the front rows of the hall. Not only will you be able to see Richter up close, observe his expression, and admire the mysterious play of his fingers, but you will also notice his curiosity, his interest in you, the audience. And at the end of the concert, when Richter comes to the front of the stage to greet and thank you, he will not only ask for applause, but will want to know if you truly enjoyed the concert. He will search the stands for the looks you have thrown him and will immediately discover the response you wish to give him. So look at him: look at him with gratitude. He will understand, and finally, momentarily releasing his stern expression, he will give you a broad disarming smile, letting you know that he, like you, is happy. Do not ask him for an autograph, as one does with divas. For Richter, a glance is enough. Your glance." Other Album available // Beethoven: Piano Sonata No. 23 in F minor, Op. 57 "Appassionata" by Sviatoslav Richter 🎧 Qobuz bit.ly/3tdUd1m Tidal bit.ly/3tin9VY 🎧 Apple Music apple.co/3UtpjNJ Deezer bit.ly/3GzAfRO 🎧 Amazon Music amzn.to/3NflbfW Spotify spoti.fi/3GB64Ke 🎧 Napster bit.ly/3NhP9jB RU-vid Music bit.ly/3NhTHq8

Kräftige doch wunderschöne live Aufführung dieser romantischen und fein komponierten Klaviersonate im relativ schnellen Tempo mit klar artikuliertem Anschlag und mit möglichst effektiver Dynamik. Der zweite Satz klingt besonders schön und echt beruhigend. Im Kontrast klingt der letzte Satz echt lebhaft und auch leidenschaftlich. Die verbesserte Tonqualität ist auch erstaunlich hoch als originale live Aufnahme von zweiundsechzig Jahren vor. Alles ist wunderbar!

Wonderful ❤

Perfect ❤❤❤