I was inside of the Hall at this concert, I was only 20 yo. It is still in my memory as one of the very best concerts I have ever heard in my life. It makes me happy to see it again oh the video, thank you for posting!
А мы сегодня ходили на фортепианный квинтет Дворжака №81 , за роялем была дочь основателя квартета им.Бородина Людмила Берлинская, наслаждение от произведения и исполнителей, Людмила чудо чудесное, достойна своего отца.
I'd never heard this, Dvorak at his freeest, unconstrained beauty of expression, with a wildness, melancholy too, in so lively an escapade, no less profound: Borodin and Richter are made for each other, mad for each other, with their phenomenal drive, diligence, an inspired execution of a rare piece, they clearly love and much revere.
not a rare piece, Ralph...along with the "American" quartet, perhaps his most played and recorded chamber work and widely regarded as his finest. But this performance would be a perfect introduction to it.
1:44 - 2:23 Mein Gott, Sviatoslav Richter holt den Himmel auf die Erde. Er macht nicht nur die wunderbare Melodie zu Gold, sondern auch noch die Begleitung, Dank seines Belcanto-Tons. Unglaublich!
Incredible performance! This very famous quintet, played by so many, couldn’t be performed better than by Richter and Borodin 4. The tempi, the exquisite sound of all instruments, blended into one ensemble, all perfect! Bravissimo!
I have heard many recorded and live performances of the Op.81 for 25 years. I regards this as the best one, its phrasing and articulation just unsurpassed. I am thrilled to see video of the performance, especially to watch the great "mad" Richter, sorceror of the keyboard. The ever-faster breakneck tempo around 23:00 is something no other group has matched. This is the same sound as on the CD release. The video is quirkily edited, but nice, great, to watch.
I have a wonderful LP recording of this quintet by Edith Farnadi and the Barylli quartet (Westminster/HMV Classics). It is very different from this one, and I don't think it makes sense to say that one is better than the other. Both are great versions of this work, which seems created to generate good mood and happiness!
Chamber music does not get much better - this combo really masters this incredible piano quintet. Whether it is the thrilling opening, the absolutely gorgeous second movement, to a highly energized return to virtuoso chamber music playing, the performance has everything one can ask for.
El Cuarteto Borodín es un cuarteto de cuerda que fue fundado en 1945 en la UniónSoviética. Es uno de cuartetos de cuerda más duraderos del mundo, habiendo alcanzado su temporada de 70.ª aniversario en 2015.El cuarteto tuvo una relación cercana con el compositor Dmitri Shostakovich, quién personalmente les consultó sobre cada uno de sus cuartetos. También actuaron con el pianista Sviatoslav Richter en muchas ocasiones. Han grabado todos los cuartetos de cuerda de Shostakovich así como todos los cuartetos de Beethoven. El cuarteto fue formado como el Cuarteto del Conservatorio de Moscú con Mstislav Rostropovich en el violochelo, Rostislav Dubinsky y Nina Barshai en el primer y segundo violines y Rudolf Barshai en la viola
Thank you very much for hauling this beautiful work out of whichever archive held it. I adored Richter's work and found it inspirational when I was young.
Una de mis favoritas obras musicales sumado al cuarteto Borodin del gran maestro Sviatoslav Richter que realizan una interpretacion justa , impecable y tocante
'Shall I compare thee to the slow movement of Dvorak's Quintet played by the Borodin and Richter'....dare I , for thy sake...and ours (to watch them is divine too- note the date, a treasure found, prized, from a recent darker world that looms again)
Belleza absoluta. Una versión de perfección total propia de verdaderos ARTISTAS. Lo único lamentable, aunque disculpable por los 41 años de antigúedad, es la calidad de la filmación
Thanks for posting this beautiful performance. I really celebrate the way the ensemble plays the whole repetitions (not like the Rubinstein/Guarnieri version) and does it in a different way each time.
In 1983 I've seen these magnificent musicians. It was the best Chamber Music Concert I've seen in all my life. Thanks, Thanks, Thanks belshep for this beautiful gift !
[Dumka]After t'he Oxford Diccionary of Music: A type of Slavonic folk-ballad,in which elegiac and fast tempi alternate.His [Dvořák's]pf sonata,Op.35(1876) is also known as the [Dumka]. I'm quoting almost litteraly!
I've never heard Richter touch the keys so lightly. I'm used to his pounding interpretations of Prokofiev. This is a side of him I've not heard before.
Yes This song-beginning is absolut Taken from Dvorak and it is always strange for me that the next part is missing, because I heard the song so often and the Dvorak is pretty new for me...
Another superb Dv PQ. Smetana and Stepan. Firkusny and Julliard. Very Russian intensity and discipline here. Czechs have a lighter touch with faster Mvt 1, for instance. Greatness all round. Perhaps Dv’s greatest chamber piece. Every Mvt a gem.
Unvergleichlich wie die aufführenden Künstler im meisterhaften Zusammenspiel den slawisch romantischen Ductus von Werk und Komponist treffen - Antonin Dvoràk - Sviatoslav Richter und das Borodin-Quartett an Silvester 1982 im Moskauer Konservatorium...
The ARC seems to be incorrect. And it would be nice to have the sound from the CD instead of the mono soundtrack. Otherwise, many thanks for posting this treasure!
Esta versión del segundo Quinteto Dvorakiano nunca ha sido superada. Ni siquiera por Janine Jansen. Es como escucharlo el día de su estreno, enero 1888 en Praga.
@newFranzFerencLiszt OK. I'll do it sooner or later after I'm back home in August. The complete Dvorak concerto is pretty poor quality though, worse than the first movement that samsonno uploaded
This is the only work of Dvorak's that I like. This performance by Richter puts every other that I have heard into the background. He leaves out the extraneous and includes only the music. Lots of listeners and musicians like Dvorak; one hears him performed endlessly in chamber concerts. I regret very much that I disagree with that view and I apologize to all of them for putting it this way, but to me Richter makes Dvorak good. I think I understand the first sentence of berlinzerberus's comment below, and I agree with it.
+champagneforashley Thanks for such a thoughtful and articulate, not to say kind and tolerant, comment. For many years I listened to music without being able to distinguish one performance from another, I confess. One day driving in the car I turned on the radio and landed in the middle of a performance of Beethoven's third piano concerto -- this was such an important event to me that I remember exactly where it was that it happened. After a few minutes, I thought, this is GOOD. It proved to be the Fleisher-Szell-Cleveland recording. Somehow after that event I could often tell something about performances. I think Richter is in a class by himself because of the strength, articulation, and beauty of his performances plus the enormous breadth of the repertoire he played. There are other terrific pianists, and I could list others I like very much. But I really do think Richter is in a class by himself.
+champagneforashley I will do that. Thanks. Now one for you -- Radu Lupu's performance of the Brahms Opus 79 No. 1 is I think in that category. Again as to Richter, I read, or perhaps I saw him say in an interview, that he liked Haydn better than Mozart. As much as Haydn is highly regarded, I don't think he is highly regarded enough. He has the misfortune to be linked, always, with Mozart, which is unfortunate for him. He literally invented the string quartet and he all but invented the symphony as forms. So recognizing that is another way of appreciating Richter. And I don't want to fail to mention the recordings he did with Rostropovich of the Beethoven cello sonatas -- videos of those performances are one of the great treasures on You Tube -- the two of them playing stone-faced but playing some of the most delightful music there is. I just wish he had recorded the Goldberg Variations as well as the Well-Tempered Clavier. Then I'd be happy.
I think there are pianists that have things that Richter doesn't. Richter has a certain natural facility that is very strong(you might say unparalleled) in a certain direction, but Gilels also had a certain golden tone and phrasing weight that works particularly well for Brahms and Beethoven. It is particularly interesting to compare Gilels Tchaikovsky 1 to Richter Tchaikovsky 1 recordings(or Brahms op 10 ballades of Gilels and of the above mentioned MIchelangeli); you see the strengths of the best of the best coming out in different ways in different pieces. Concerning this masterpiece by Dvorak: I hadn't heard this performance and it is indeed extraordinary. I first heard this piece live LAST WEEK actually and it was with Thibaudet and though Thibaudet is very very good, he is not 'late golden age' like Richter. Nonetheless, this performance was heartbreakingly beautiful and it ended up being 'the star' of the program(there was a decent performance of Brahms string sextet no. 2 on the first half, also a widely and highly regarded masterpiece, maybe a hair more famous than this one, and yet the Dvorak Piano Quintet was BLAZING and deeply sad in that uniquely wholesome way. Basically, it outshone that monolithic Brahms piece in this context. Op 81 unusually fine, it's a very peculiar mood for Dvorak though it has his various signatures. There are some other gems in his output and they are all unlike each other. The mature Dvorak was always good, but he struck like lightning in more than a handful of pieces(as well as in a few odd instances in earlier works). From the chamber music, try his string quintet op 77 for my other favorite chamber piece, it is a double bass quintet and peculiarly symphonic, spirited, and often dance like.
Поразительнейшее, тончайшее звучание при невероятном темпераменте! Специально переслушала другие исполнения - ничего даже близкого! На фоне этой записи всё остальное кажется грубой, «малярной» работой
