What a fantastic opening, with Richter rubbing his hands, looking unimpressed at the late comers to concert, and then launching into his wonderful performance without waiting for them to settle. He certainly came to play!
Oooh - I am glad you like his rendering of the fourth movement, I was looking for someone who would play it slower than normally heard, but Sviatoslav Richter actually plays it much faster than most. I like it slower.
Best Beethoven playing and best sound: both direkt and without "effects" or artificial "affects", but sincere. The last part is pure love expression/experience through music.
@@alexustas2203 Ясно. :) Я лично вижу некоторую субъективную разницу, когда разные пианисты играют какое-то одно любимое мной произведение, которое я уже сама сто раз прочувствовала чуть ли не каждую ноту (ну в меру своих возможностей - я не музыкант). Тогда вижу, что этот играет быстро, и вообще не вызывает эмоций, например, а этот именно задевает все струны моей души. Но есть и какие-то субъективные критерии, по которым выделяют какого-то пианиста, и который становится "звездой". Вот Рихтера, например, наш преподаватель по музыке, сама концертный исполнитель, выделяет как-то особенно.
I begin to understand why his famous teacher Heinrich Neuhaus claimed there’s nothing he could teach to his most talented pupil Sviatoslav Richter. This man touch embodies music itself, this is pure unadulterated music ladies and gentlemen, speaking to us through Richter’s physical body, Richter at its best. How can you teach anything about music when music itself is speaking to you through your pupil?
I agree, but we also have to take into consideration that when someone called him the greatest pianist in the world he claimed that if he was, Sofronitsky is God!
There is always something worthwhile in Richter playing Beethoven, even if you prefer the interpretation of others in a particular work. He is never to be discarded from the top guns in this repertoire. I personally often prefer Kempff in Beethoven but...they are both beyond praise.
Richter is a phenomenon from Bach to Prokofiev, nonetheless I prefer players like Serkin ,Arrau or Kempff playing Beethoven, bud as I said, there's nothing to criticize on him, it is only a matter of individual taste
Nadie ha hecho ni hace actualmente la 23 (appassionata) como Richter la hizo (ni siquiera Gilels). Beethoven revive cada vez que suenan esas grabaciones de los '50 en Praga.
@@timothystemm6358 Hello Timothy. As i said this is a matter of taste. I do prefer the master of singing or old school such players as Alfred Cortot, Horowitz,Serkin or Arrau for instance. This russian school with these players such as Gielels, Rostropovich, Richter for instance were rather looking for perfection and power and not to make their instruments sing as their first priority. That´s why i prefer this op. 2 nr 1 with Serkin who plays very calm and noble , you can also feel the same when you hear the Pathetique with Claudio Arrau or the Apassionata with Horowitz. Nontheless i must say that to me is the best version of the sonatas played by Gulda back in the sixties . I do preffer anayway the old school mostly with musicians like Casals, Cortot, Rubinstein or these 3 master born in 1903 : Horowitz, Arrau and Serkin. I won´t never criticize Richter because i don't really know nothing bad played by him and as i said, this is only my personal conection to the other players.
An excellent rendition. Almost as good as mine! Seriously, I've just started playing the first movement of this sonata, and my teacher wants me to aim for the "correct" tempo of 88 minims per minute straight away! Well, I'm aiming for it, but ...
88 ??? Allegro means fast, especially with Beethoven. Richter plays around 110, my impression is he starts on the slow end and then increases. Check also Schiff, Kovacevic, Gulda, Buchbinder…; don’t mean than Richter is too slow, seems to aim for contrast with the last movement. Anyway, gorgeous performance….despite not in the best mood😉
Давно на экзамене я решил финал сыграть "под Рихтера". Так мне потом устроили головомойку : " Ты зачем так насиловал инструмент? Под Рихтера решил закосить?" ))) Влепили четвёрку)))
Well, the grace note played on the beat everyone plays incredibly ugly, you mean? I prefer what Richter does. Either that or you play on the beat, but two quavers, not a short note.
Time 16:01 - Beethoven said: "To play a wrong note is insignificant; to play without passion is inexcusable!" (I suspect it was deliberate😉, although the performance is not ostentatiously passionate)
It wasn't deliberate, he just placed his finger a little bit to a side of the key, that's not a wrong note, it's a mechanical mistake due to the energy of the movement. A truly wrong note is that when the musician doesn't know the correct one. I'd even say a correct note can be a wrong one, if just played without the proper intention.
I agree: there's no way that resounding an error is deliberate, especially at such a key juncture in the sonata. It just reminds us that even the greatest of performers make mistakes, etc.
Why the repetition of the last segment of the finale ? It destroys the structural and dramatic balance. What a pity in an otherwise perfect performance...🤔🤔🤔
@@estebant751 Thanks for the info. I suppose it functions within the tradition of classical sonataform, but it cuts the musical current in Beethovens music. It's a dilemma because Beethoven stands on the brink between classic formalism and romantic free experiment. This kind of repetition may be a choice, incalculated in the sheet by Beethoven himself as a possibility... but it is, in my opinion, against the spirit and mood of the music itself. I am glad this kind of interpretation stays the exception in performing practice...🤔🤔🤔
