Beethoven - Sonata no.23 in F minor, "Appassionata", op.57 1. Allegro assai 2. Andante con moto 3. Allegro ma non troppo May 1960, Leningrad (St. Petersburg), Live recording
I was by a Richter recital in Strassburg in 1971 . He played a Scriabin Sonata just in this mood . I was statufied and sweated in my chair in big heavy drops . I never forgot it .
I'm no classical music nerd, just a regular music nerd, but this is one of my favorite piano sonatas and Richter is my favorite classical pianist. He gives a raw power to his interpretations that I've rarely heard in my admittedly limited exposure to classical canon and performance.
Jaisoo Bahng Could not 'ave said it better me self !! Richter reminds me, spiritually, of the cellist J. Du Pre. For a long time the only Beethoven Sonata performances I would listen to were by the 1950's perfectionist Solomon. Until, that is, I heard Richter.
I realized the possibilities of piano when I first heard Richter playing this sonata.I was electrified and began for the first time practising hard enough to play the appassionata. I can remember this moment as if it has just happened.
Alexei K... U R ABSOLUTELY RIGHT ON THAT! Beethoven never went for insignificant details ,his idea of music was just overall and wholesome passionate affairs! I always thought richter interpreted right way and he was a brilliant in many way. Only how I wish I met him..... just marvellous.....!!!!
Pablo Souffron I don’t agree wt u bcz there were many evidence of his style of playing wt his short and tubby fingers abrupt and crashing down yet there were great sensitivity described by some of his students . It was all abt overall listening I believe that statement I read so many many biographies and the words from those who was connected wt him as I worship him ever since my childhood! I think nowadays all the players are possibly refined as instruments itself have been improved so much. Also we must be so so grateful bcz of this Giant composer we now have far better piano( his constant complaints to piano manufacturers) oh, I love his music ! Pls, listen to(SEUNG JIN CHO)Hamamatsu, piano competition,Japan 15 yrs old his play of this same piece !!!
Yes, this is a performance of extremes, particularly the lickety--split 3rd movement. But Richter captures something elemental and frightening in this sonata. I think Beethoven wanted us to be a bit scared listening to this music. Richter's makes the 3rd movement like the Last Judgment. I think it is a great performance, even if not to all tastes. A great artist - and Richter was that, in spades - can make things work that lesser performers could not. Like Richter's VERY slow performance of Schubert's sonata D. 960. Even while I'm thinking it is way too slow, Richter makes it work on his terms. But I would not want to hear anyone else take it that slow!! Similarly, I recognize that this final movement is faster than Beethoven wanted, hardly "non troppo." But that thought only came to me after I picked myself up off the floor.
He captures Beethoven’s phrases of all lengths, short and clipped versus long and flowing, and thereby gets Beethoven’s points across. He takes himself out of the middle and leaves Beethoven speaking to you directly. Perhaps older recordings help with that distance from the artist? Don’t know, but there is still something very special about Richter performances, a unique combination of power, expression and control. It seems to come so naturally to this, one of the very greatest pianists of all time
Для Рихтера это была одно из самых сложных произведений. По его же высказыванию, он, садясь за инструмент, никогда не знал, как получится Аппассионата в этот раз. Про третью часть он говорил, что крайне сложно передать клавишами диалог (спор) нескольких неземных существ. Для меня же данная интерпретация - наилучшая из всех. Супер.
When Beethoven wrote this there was no piano made yet that it could have been played like this on. Richter even pushes the envelope of the best Steinway out there. Imagine if Beethoven himself could hear this.
So perhaps we could say that what we have here is the creation of Beethoven, Steinway, and Richter, something that could only come into being at a certain point in time?
I attended the piano master class of Gyorgy Sebok in the mid-1970's. On the subject of Richter he said that when he was "on" for a performance of the Appassionata 3rd movement it was the best, "like hot lava." When he was not it could be messy. This is pretty clean and molto exciting!
Именно это настоящий стиль исполнения самого Бетховена. По свидетельствам очевидцев, великий композитор после того как потерял слух играл с такой мощью и остервенением на фортепиано, что слушатели, бывало теряли сознание.
Richter is known for sticking to the score of a piece. He put the sheet music when he played. So, it can be assumed that he was trying to capture what the composers were trying to put into even when he was actually performing. So, that says it all.
Listening to Richter helps me make sense of the sonata better than anyone else’s interpretation. I think it’s wonderful that so many people can have different views, preferences, it’s important to remember that what each of has is a unique perspective that should be respected, regardless of whether it coincides with anyone else’s
I always know whether or not I'm going to like a performance of this piece if I get a "chill" by the third note. I got a BIG chill here! Wonderful. Thanks for posting!
Какое исполнение - никто больше эту вещь так вдохновенно и технически совершенно не играл!!! Можно бесконечно слушать и никогда не надоест. Это знаменитое исполнение 1960 года в концертном зале имени Чайковского. А во втором отделении был Гайдн 10 соната))
+Sapienti Sat К сожалению, бывали, и не раз. Но, как сказал дедышка Крылов, "Орлам случалось ниже кур спускаться, но курам никогда до облак не подняться".
Это исполнение похоже на "исполнение века", но это было не в зале им.Чайковского, а в БЗК 09/06/1960 (в первом отделении - до-минорная соната Гайдна и 3-я Бетховена, во втором - 22-я и 23-я сонаты Бетховена). Была такая пластинка, но без бетховенских 3-й и 22-й, а теперь есть диск. Но сейчас мы слушаем запись, сделанную 31/05/1960, Ленинград, Малый зал филармонии им.Глинки. Я ее хорошо знаю, т.к. в моем собрании она уже 15 лет. И то, и другое исполнение потрясающие! Можно также сообщить, что Рихтер сыграл тогда еще и 3-ю, 12-ю и 22-ю сонаты Бетховена и четыре этюда Шопена на бис. Существуют неизданные записи 3-й и 22-й сонат и трех этюдов Шопена.
La fuerza, la vitalidad, el sentir, el fuego, la pasión y la sin seriedad uñidos en esta versión, mejor imposible, casi perfecto, te deja agotado y queriendo más.
рихтер доносит до слушателей самые сокровенные замыслы композитора как никто из исполнителей в его исполнении самые казалось бы скучные призведения композиторов обретают живую душу и плоть
What's astounding is that this interpretation is half a century old now and no other pianist can sound like this if they choose to mimic this phrasing.
This is by far the sharpest and best performance by Richter (maybe even better than the Moscow Conservatory live recording of June 9 of the same year). That's why it's a shame that the end of the second movement is missing. Is there a problem with the sound source? リヒテルの中でも飛び抜けてキレている、最高の演奏（同年6月9日のモスクワ音楽院ライブ録音よりいいかも）。それだけに、第2楽章の終わりの部分がなくなっていて残念。音源に問題があるのかな？ ↓ Same recording, but this one is less damaged. ↓ 同じ録音でも、こっちの方が損傷は少ないね。 ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-pYiNy7BQN2I.html
When my 70 year old, white hair, yacht-sized Caddie driving, proper Southern Belle of a piano teacher told me at the wise-old age of 15 "in order to play the Appassionata you need to have lived...if you get my drift." I almost fell off the stool.
Прекрасная музыка и прекрасное исполнение . Очень замечательно. Только мало просмотров. Неужели народ стал слушать дерьмовую музыку? Это проблемы в воспитании? Или в чем-то другом. В чем?
Anna Khanina как бы Рихтер сам же говорил, что не любит интерпретации. И вы где нибудь замечали, чтобы он изменял темп и т.д., как это делали Горовиц, Фейнберг и т.д., тот же Аррау?
Разный темперамент,разный жизненный опыт,настроение - все влияет как на исполнение,так и на восприятие любого произведения.А сравнивать Мастеров ,мне кажется, не совсем корректно.
Ho ascoltato Peraja dal vivo in Giappone. Direi che anche lui ha dato un'interpretazione eccellente. Chiedo a voi ,ascoltatori di you tube , un parere sul confronto tra i 2. Grazie.
When and where was this recording made? I've heard several recordings of this by Richter and this is one of the cleanest and best, almost super human. When he played this at Carnegie in 1960 he himself said it was one of the worst performances he ever played of it, even though the people who were lucky enough to see it were in total shock. As great as his studio recordings of this are, they just don't capture the true genius that his live playing does.
There are many Richter Appassionatas out there, some better than others, almost all (in the Richter tradition) taken from public performances. From the pre-echos here, and the placement of some of the well-remembered (and much cursed) coughing, I'm guessing that this may be the recording that appeared in the U.S. in the early sixties on the Mezhdunarodaya Kniga label, complete with exotic Cyrillic text on the label, that we as awe-struck teenagers passed around as a talisman. Who needed rock music when you could hear such demonic playing? But what on earth is with the brutal cut at the end of the second movement (16:21)? A needle skipping? Or is this a completely different performance, with the mighty Richter having a memory lapse? But his way of handling the beautiful transition, as recalled from that MK disc for example -- he could not have forgotten such a vital passage. So what happened? It almost ruins the performance!
