@@bilzebor8457 He makes a lot of mistakes, just little mistakes, in many of his performances. The school of Perfect Perfection is born with recording techniques, and it's not his era. Gieseking also makes many mistakes.
Thank you very much for this posting, it's always a great experience listen Richter. For me he have such elegance in all his performances and the colourful playing is incredible.
Marvelous pianism from the incomparable Richter yet again. If only he had decided to record his Debussy repertoire in the studio rather than on the stage ...
+bach5861 Certainly true, but when one does hear some of Richter's few studio recordings, they are no less accomplished and brilliant than his many live recordings. I'm thinking particularly of his studio recording of Mussorgsky, or the set of Beethoven variations. And to have these incomparable treasures without the poor sound quality and the heavy coughing ... Some live recordings are indeed truly magical, and can be more inspired than a poor studio effort. But all things considered, I think studio recordings provide the better listening experience.
Nelson Freire said that the biggest danger in Debussy is playing it too slow. I wholeheartedly agree, Richter's Debussy is far more musical than Arrau's.
As properly idiomatic as Richter's rendition of this early Debussy piece and those of several others may be, late in life I found Arrau's reflective last recording uniquely entrancing, if not for repeated listening, perhaps.
The danger in classical music is to play it as a states funeral. As a young conductor Rachmaninoff did an excellent job with Tchaikovsky bringing him to life. Marcelle Meyer, Michel Béroff, Nelson Freire, Zoltán Kocsis I prefer the most after Monsieur Croche himself. Weissenberg, Michelangeli, Its worth to discover good Debussy: czcams.com/video/rJ6WtbBZ5B0/video.html
My heart was quivered by this song and play . My mother was listening to this song with tears in her eyes , In remembrance of late my mother . Greeting from mysterious Japan
I wouldn't go that far. Depending on the composition there are many wonderful pianists to consider. Nikolai Lugansky and Pascal Rogé do this beautiful piece justice, too.
Love your wonderful postings!! This is a magical performance of the Suite. Thank you for posting it. I do have one request. Would you please reconfirm the location and date of the performance? Neither the Ates Tanin or Trovar discographies of Richter list a performance in Moscow in 1979. Thank you again for all that you do to enrich fans of fine piano playing!
First I thought how irritating can it be - people think there is a pause and everyone starts sneezing and coughing, like in the market... And then, Richter just keeps going on... But then it's kind of funny...
S. Richter is the only pianist in bar 61 of the Prelude from Suite Bergamasque, touch four quavers of the left hand as if written in the treble clef, and two measures before happens. And the truth is that it is more interesting than what Debussy wrote. S. Richter es el único pianista que en el compás 61 del Preludio de la Suite Bergamasque, toca las cuatro corcheas de la mano izquierda como si estuvieran escritas en la clave de sol, como ocurre dos compases antes. Y la verdad es que resulta más interesante que lo que escribió Debussy.
juan david Pedraza Entonces es dificil que te des cuenta del cambio que hace Richter. SWi quieres te llamo y te explico. En que ciudad estas? De todas formas está localizado del minuto 3:29 al 3:31
Мастер!Замечательно!Правда, я уже больше привык к исполнению этой вещи Станиславом Буниным . Для меня оно всё же более сильно и уносящее в иное измерение.Но,в то же время, в исполнении Schubert Impromptus op.90-2 ,по-моему,С.Рихтер - лучший!
Probably you mean bar 57 and 59. It is probably a common misreading pianists make, including Richter, whose performance is otherwise wonderful. His misreading of the score is more interesting to you than what we see printed in the score. For many, his reading is less interesting than what D wrote. Isn't it more interesting to repeat the phrase two octaves lower than to repeat exactly the same thing? Anyway it's a matter of opinion.
Wszedłem tutaj aby tylko oznajmić, że Bunin zagrał to lepiej. Posłuchałem. A jednak ŚP Jan Weber, krytyk muzyczny miał rację. Był zakochany w grze Richtera i Sokołowa.
Really? I think he drags the prelude. Seems to be the common interpretation of moderato, 100-105bpm. It sounds nice faster, with lot of rubato speeding upi the phrases, and touching temo at the breaths/ phrase ends/starts. He makes a lot of mistakes,/slips. Some players a a little sloppy. I play all the big material at tempo. and faster, but find it hard to play a 20-40 minute piece of music without flubbing a few notes. Better to go for the music, that worry about little mistakes, says the ones that make mistakes! 3 years later
WTF??? Richter had brought me to a wonderful world of magic and atmosphere, and right in the middle of the Prelude two VILE ads came on and ruined the entire mood. FOR SHAME!!!!!! Click!
One of the best Passepied i’ve ever heard. Richter is such a genius beyond compare.
Richter grandissimo....poetico...sensibile...lontano..
The player like him of genius will so rarely emerge in the world .
This music gives me comfort and solace , and heals my tired mind and sorrow .
He did a lot of live recording. He was very confident, was extremely well prepared, and relished the atmosphere and audience contact.
he made a few mistakes though, like at 15:13
Following his school ever since early days in Moscow. The best school is the old school.
Another pianist who was like that was Arturo Benedetti Michelangeli. I wish he had recorded more Scarlatti.
@@bilzebor8457 He makes a lot of mistakes, just little mistakes, in many of his performances. The school of Perfect Perfection is born with recording techniques, and it's not his era. Gieseking also makes many mistakes.
Божественная музыка......
Thank you very much for this posting, it's always a great experience listen Richter. For me he have such elegance in all his performances and the colourful playing is incredible.
Marvelous pianism from the incomparable Richter yet again. If only he had decided to record his Debussy repertoire in the studio rather than on the stage ...
+yusufu9 Some performers like studio, the others like stage.
+bach5861 Certainly true, but when one does hear some of Richter's few studio recordings, they are no less accomplished and brilliant than his many live recordings. I'm thinking particularly of his studio recording of Mussorgsky, or the set of Beethoven variations. And to have these incomparable treasures without the poor sound quality and the heavy coughing ... Some live recordings are indeed truly magical, and can be more inspired than a poor studio effort. But all things considered, I think studio recordings provide the better listening experience.
@@yusufu9of course, in the studio they can repeat if they made a mistake, no nerves and pressure
Most wonderful interpretation thanks for posting
Meravigliosamente sognante.
Quale ampiezza e respiro...
Love Sviatoslav Richter his interpretation of the Nergamasque is second to none spacially the one from the Salzburg recital..
Nelson Freire said that the biggest danger in Debussy is playing it too slow. I wholeheartedly agree, Richter's Debussy is far more musical than Arrau's.
As properly idiomatic as Richter's rendition of this early Debussy piece and those of several others may be, late in life I found Arrau's reflective last recording uniquely entrancing, if not for repeated listening, perhaps.
A ver. Yo creo simplemente que Debussy es un compositor cuya aceptación o rechazo depende mucho de la circunstancia vital.
The danger in classical music is to play it as a states funeral. As a young conductor Rachmaninoff did an excellent job with Tchaikovsky bringing him to life. Marcelle Meyer, Michel Béroff, Nelson Freire, Zoltán Kocsis I prefer the most after Monsieur Croche himself. Weissenberg, Michelangeli, Its worth to discover good Debussy: czcams.com/video/rJ6WtbBZ5B0/video.html
Bellissimo questo brano!! ❤🎉 mi mette gioia! 😊 Inoltre l'interpretazione di Richter è magistrale! Tra i miei pianisti/e preferiti.
My heart was quivered by this song and play .
My mother was listening to this song with tears in her eyes ,
In remembrance of late my mother .
Greeting from mysterious Japan
best suite " bergamasque ever"!
Una maravilla! Qué pianista y qué obra tan hermosa!
Magical dreamer💙💜💖
Thank you so much for sharing such a beautiful piece 😍
Magnífico !
Maravilha de música, obrigado por postar
Просто охерительно. Невозможно словами передать то что чувствуется что композитор, что исполнитель....
🎶Благодарю!
What a dream, it's like you are in heaven, free, no pain
The most marvellous pianist of all times (no challenge possible)
I wouldn't go that far. Depending on the composition there are many wonderful pianists to consider. Nikolai Lugansky and Pascal Rogé do this beautiful piece justice, too.
Love your wonderful postings!! This is a magical performance of the Suite. Thank you for posting it. I do have one request. Would you please reconfirm the location and date of the performance? Neither the Ates Tanin or Trovar discographies of Richter list a performance in Moscow in 1979. Thank you again for all that you do to enrich fans of fine piano playing!
I saw another version of this same recording that claimed it was 1977, maybe the year is off?
ВСЕ_ТАКИ ЭТО РИХТЕР>>>>>МЫСЛИТЕЛЬ>>>ИЗУМИТЕЛЬНОЕ ИСПОЛНЕНИЕ
Beauty!
Maravillosa
Che dire.. è richter! Peccato per il pubblico che non aveva capito fosse di richter il concerto..
notable registro
First I thought how irritating can it be - people think there is a pause and everyone starts sneezing and coughing, like in the market... And then, Richter just keeps going on... But then it's kind of funny...
S. Richter is the only pianist in bar 61 of the Prelude from Suite Bergamasque, touch four quavers of the left hand as if written in the treble clef, and two measures before happens. And the truth is that it is more interesting than what Debussy wrote.
S. Richter es el único pianista que en el compás 61 del Preludio de la Suite Bergamasque, toca las cuatro corcheas de la mano izquierda como si estuvieran escritas en la clave de sol, como ocurre dos compases antes. Y la verdad es que resulta más interesante que lo que escribió Debussy.
Alberto Joya podrías señalar el minuto en el que se puede oir eso que dices?
hola juan david ¿eres pianista?
no, solo un amateur sin buen oído.
juan david Pedraza Entonces es dificil que te des cuenta del cambio que hace Richter. SWi quieres te llamo y te explico. En que ciudad estas? De todas formas está localizado del minuto 3:29 al 3:31
Gracias, vivo en Colombia, buscaré también la partitura para ayudarme.
Мастер!Замечательно!Правда, я уже больше привык к исполнению этой вещи Станиславом Буниным . Для меня оно всё же более сильно и уносящее в иное измерение.Но,в то же время, в исполнении Schubert Impromptus op.90-2 ,по-моему,С.Рихтер - лучший!
ОЧЕНЬ ПРОНИКНОВЕННОЕ ИСПОЛНЕНИЕ.БРАВО.
yahooooo!!!!5/12/16❤
I like him correcting the b flat in a in the second bar.
Выдатна!
Probably you mean bar 57 and 59. It is probably a common misreading pianists make, including Richter, whose performance is otherwise wonderful. His misreading of the score is more interesting to you than what we see printed in the score. For many, his reading is less interesting than what D wrote. Isn't it more interesting to repeat the phrase two octaves lower than to repeat exactly the same thing? Anyway it's a matter of opinion.
The coughing tho...
!
Рихтер потрясающ как всегда! Но зрители задолбали кашлять!!!
Hay mucho material repetido, buenos videos otros grabados en muy bajo volumen.
Is Pablo Picasso?
Wszedłem tutaj aby tylko oznajmić, że Bunin zagrał to lepiej. Posłuchałem. A jednak ŚP Jan Weber, krytyk muzyczny miał rację. Był zakochany w grze Richtera i Sokołowa.
Oh, how I fucking hate people coughing during a performance like this.
The immediate action should be initiated.
+Katsura Kotarou I'ts worse when they clap at long pauses, That kind of stuff turns me off of playing in an audience entirely.
Wow, his interpretation is really amazing, though he rushes a bit on the Menuet (still enjoyed it anyways).
Really? I think he drags the prelude. Seems to be the common interpretation
of moderato, 100-105bpm. It sounds nice faster, with lot of rubato speeding upi the phrases, and touching temo at the breaths/ phrase ends/starts. He makes a lot of mistakes,/slips. Some players a a little sloppy. I play all the big material at tempo. and faster, but find it hard to play a 20-40 minute piece of music without flubbing a few notes. Better to go for the music, that worry about little mistakes, says the ones that make mistakes! 3 years later
WTF??? Richter had brought me to a wonderful world of magic and atmosphere, and right in the middle of the Prelude two VILE ads came on and ruined the entire mood. FOR SHAME!!!!!! Click!
For he is German.
German / Russian
Non è umano !!!