Customer Reviews

Pianist of the Century ~ Sviatoslav Richter

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At the time these recordings were made for DG Sviatoslav Richter was just emerging from his Soviet cocoon, having previously been isolated, for the most part, from western culture and influence. While Richter's art matured as he was exposed to musicians and musical ideas outside the iron curtain, his middle period, which these recordings capture, reflect an undiluted artistic personality that was highly creative, but also unorthodox if not sometimes wayward.

Let's start with the great stuff here: poetic Bach, a gem-like Haydn sonata, mesmerizing Debussy estampes and preludes, Richter's classic recording of Rachmaninoff's second concerto and six preludes, as well as definitive recordings of Prokofiev's fifth concerto and eighth sonata. Richter's stupendous traversal of Scriabin's fifth sonata, taken from a live recital, is of course also here. Richter's complete grasp of this material and his technical mastery are overwhelming and it's not surprising that several of these recordings received awards including the Grand Prix du Disque, Edison and Deutscher Schall Platten Preis.

Richter's Chopin illustrates the occasionally manic aspect of the great pianist's playing, especially the two ballades included here which both suffer from openings that are ultra-slow. While Richter was seeking something poetic, the pace is simply inconsistent with the overall architecture of these pieces. That being said, this same slow treatment works brilliantly in the opening measures of Debussy's Pagodes. Once you hear it, you'll be convinced that there is no other way to play it as Richter casts a magical spell that has never been equalled.

The polonaise-fantasy is also somewhat inconsistent with excessive rubato which, to my way of thinking, does not work very well. For a stunning polonaise-fantasy one must turn to Horowitz, who truly owned this piece. Likewise, one hearing of Claudio Arrau's distinguished Abegg Variations demonstrates that not everything Richter touched turned to gold. Here Richter, as was often the case with his playing at the time, starts out very slowly and then is almost too fast, rattling off the variations like a series of technical exercises, whereas Arrau's approach, no less of a technical tour-de-force, is far more colorful and musically oriented. There are no reservations whatsover about Richter's Chopin etudes which are impressive indeed.

Richter's treatment of Mozart's 20th piano concerto is completely unconvincing - at this point in his career he seemed not to understand the Mozart idiom at all. The awkward-sounding cadenza he plays is unfamiliar as are some of the ornamentations. The Schumann concerto is executed very smoothly, but seems almost glib; however, the op. 12 Fantasiestucke are very lovely. In fact, the solo Schumann material from the first LP Richter made for DG in 1956, is all outstanding.

The other concerto recordings are also, to be honest, a mixed bag. To call the Tchaikovsky concerto with Karajan sluggish would be an understatement, however, this was a result of bad chemistry between soloist and conductor. To quote the liner notes: "Karajan exercised a curious blend of interference and negligence which riled Richter for decades to come." The Beethoven C minor concerto with Sanderling fares somewhat better, but it still lacks the conviction and authority of, for example, Fleisher/Szell or Arrau/Gallierra.

I love the fact that these cd's replicate the cover art and programs of each LP as they were originally released, so prepare yourself for a jolt when Richter launches into Rachmaninoff's massive op. 32, no 1 prelude, the first of six preludes which follow the second concerto. This is incredible Rachmaninoff -- Richter absolutely dominates each prelude in an unrivalled display of technical authority and poetry.

While not every performance is the best that Richter ultimately had to offer, overall this is an essential collection from one of the great pianists of the 20th century.

DG only caught Richter on disc for six years (1956-62), but what years they were. Of the nine discs he made, several are among his greatest concerto recordings (the Schumann, Rachmaninov Second, Prokofiev Fifth), with the solo music scarcely at a lower level. Issuing all his LPs in their original order is an idea the company used with Martha Argerich previously. It's not really much of an advantage, though, and despite the reduced price, anyone interested in Richter will already own the bulk of this collection, little of which has been out of print or hard to find on the used market.

Here's the complete contents:

Bach, J S:
Prelude & Fugue Book 1 No. 1 in C major, BWV846
Prelude & Fugue Book 1 No. 4 in C sharp minor, BWV849
Prelude & Fugue Book 1 No. 5 in D major, BWV850
Prelude & Fugue Book 1 No. 6 in D minor, BWV851
Prelude & Fugue Book 1 No. 8 in E flat minor, BWV853

Beethoven:
Rondo for Piano and Orchestra in B flat major, Wo06
Wiener Symphoniker, Kurt Sanderling

Piano Concerto No. 3 in C minor, Op. 37
Wiener Symphoniker, Kurt Sanderling

Chopin:
Ballade No. 3 in A flat major, Op. 47

Polonaise No. 7 in A flat major, Op. 61 'Polonaise-fantaisie'

Étude Op. 10 No. 1 in C major
Étude Op. 10 No. 12 in C minor `Revolutionary'
Ballade No. 4 in F minor, Op. 52

Debussy:
Préludes - Book 1: No. 2, Voiles
Préludes - Book 1: No. 3, Le vent dans la plaine
Préludes - Book 1: No. 5, Les collines d'Anacapri

Estampes (3) (Complete)

Haydn:
Piano Sonata No. 32 in G minor, Hob.XVI:44

Mozart:
Piano Concerto No. 20 in D minor, K466
Warsaw (National) Philharmonic Orchestra, Witold Rowicki

Prokofiev:
Piano Concerto No. 5 in G major, Op. 55
Warsaw (National) Philharmonic Orchestra, Witold Rowicki

Piano Sonata No. 8 in B flat major, Op. 84

Visions fugitives, Op. 22, No. 3
Visions fugitives, Op. 22, No. 6
Visions fugitives, Op. 22, No. 9

Rachmaninov:
Piano Concerto No. 2 in C minor, Op. 18
Warsaw Philharmonic Orchestra, Witold Rowicki

Prelude Op. 32 No. 1 in C major
Prelude Op. 32 No. 2 in B flat minor
Prelude Op. 23 No. 2 in B flat major
Prelude Op. 23 No. 4 in D major
Prelude Op. 23 No. 5 in G minor
Prelude Op. 23 No. 7 in C minor
Prelude Op. 32 No. 12 in G sharp minor

Schubert:
Allegretto in C minor, D915
Ländler in A major (from 17 Ländler, D366)

Schumann:
March in G minor, Op. 76, No. 2

Waldszenen (Forest Scenes) Op. 82

Fantasiestücke, Op. 12 (selection)

Piano Concerto in A minor, Op. 54
Warsaw National Philharmonic Orchestra, Witold Rowicki

Introduction & Allegro appassionato in G major, Op. 92
Warsaw National Philharmonic Orchestra, Stanislaw Wislocki

Novelette in F major, Op. 21 No. 1

Toccata in C major, Op. 7

Abegg Variations, Op. 1

Scriabin:
Piano Sonata No. 5 in F sharp major, Op. 53

Tchaikovsky:
Piano Concerto No. 1 in B flat minor, Op. 23
Wiener Symphoniker, Herbert von Karajan

You will know from your own buying which of these recordings are missing. EMI has a similar box set in their "Icons" series that contains recordings which qualify as being a bit rare, given that EMI is quick with the deletion pen. I believe that there are alternate versions of every piece here, since Richter's discography of live concerts is vast. For me and millions of fans, DG isn't exaggerating to call Richter the pianist of the century -- the latter half, at least -- and so his every note was captured by someone with a tape recorder.

These "private" recordings, as well as the official ones from Melodiya, usually can't compete with DG's sound, which is why I point to the concertos in particular. Critics have argued against the Tchaikovsky and the Mozart D minor for various reasons; the others are incontrovertibly great. Not everyone appreciates Richter's Bach and Chopin, either, but everything else in the solo recitals exhibits is overwhelming musical command.

The box include very nice reproductions of original LP covers in mini format. All fantastic DGG recordings - Schumann, Rachmaninov, memorable recitals Haydn/Chopin/Debussy/Prokofiev/Scriabin/Bach/Schubert etc are included and this set is essential for any new Richter fanatic - here company is really offering value for money. I really appreciate first time cd combination of Prokofiev 5th concerto and Mozart 20th concerto - fantastic, imaginative combination of two great works and original disarming putto cover. There are no weak links in this box if you only could take Richter/Karajan battle of the spirits in Tchaikovsky concerto as a curiosity.

Years ago I bought three of these LPs. NO ONE plays the Rachmaninov preludes as well. I heard a live performance recording by Richter himself of the G mi. prelude, but I simply liked the DGG studio recording better. Artists insist that they don't play their best for studio recordings, but in this one Richter pulls all stops. When passages call for thunder, he plays without inhibition. On the other hand, the D Maj. prelude couldn't be more lyrical. This 9-CD set is worth the money for these six preludes alone, yet I got 9 new CDs for far less than 9 LPs would have cost decades ago.

I do not find the sound quality poor. The original recording technology was quite advanced, and the digital transfer is satisfactory at worst. Disc 9 is of live performances. Some coughing is inevitable, but this audience must have been suffering from an influenza epidemic. What a pity, for I have never heard more sensitive, UNpedantic Bach playing. Fortunately, the couging is minimal during the Rachmaninov G# mi. prelude, and that's the best piece on this CD.

I had already bought two separate CD reissues of Richter's DGG LPs: concerti by Mozart, Beethoven, Rachmaninov, and Tchaikovsky. I'll donate them to a school. To others who may have already bought separate DGG CDs of Richter I recommend doing likewise--donate them and replace them with the complete set. Youngsters need to be exposed not only to good music, but also to quality interpretations.

I do not know what more a fan of classical piano music could want! If you are just beginning to discover classical piano players, Richter ranks up there with the best of all time. Many would say he was above all the others. Technique, strength, passion--it is all here. This box-set has a great variety of composers, the price is great, and the sound quality DG creates is excellent. How someone could not give this 5 stars is truly beyond me!

Old and lucky enough to have seen great pianists playing in concert halls since 1946--Horowitz and Rubinstein, Myra Hess and Lipatti, Arrau and Gieseking, Serkin and Sandor, Michelangeli, Clara Haskil, Gilels and Richter--the question of virtuosity vs. "heart" is, for me, too big to ignore. Richter--seen only once, in his last recital in Freiburg (which was repeated in Munich, shortly before he died), is the most astonishing pianist I've known. Every moment in this collection, PIANIST OF THE CENTURY, has his essential verve, a daring most pianists would not dare. Perhaps it's Richter's training in and devotion to the Opera that determines such energy, such big-heartedness. No matter. The loud climaxes ring and sing. The softer-than-soft asides are, in a word, radiant.

this is not richter's beethoven or schubert, but it shows the same professionalism applied to a variety of other composers. the rca 3 cd set, sviatoslav richter- pianist of the century is of a similar high standard and affordable price and accompanies this release nicely. the alto label release, schubert d.958 / d.960 (1 cd) is the best richter on 1 cd i've yet encountered, and while the dg pianist of the century does not ascend to that pinnacle, it contains such quantity that it cannot help but illuminate the richter fan. i really appreciate all three labels for finding a way to put these recordings out during a recession and keeping the prices competitive with popular/rock/jazz,etc. genre releases.

When Emil Gilels was hailed by his excel pianism over there, in the early fifties, he coined for posterity a concise but brilliant phrase that exalts him as a human being for his prodigious nobility and unlimited honesty : "Wait for Richter", he replied: "He is one hundred times better pianist than me."

About Richter has been published on rivers of ink and countless favorable reviews around the world.

What I'd want to emphasize in this brief space, is above all, the prodigious capacity to venture Richter to the very heart of the score. Thus, Richter was able to bridge the gap between each score and the listener making a particular sound according to the composer and further with the work that was running. The second thing I want to highlight is the awesome power of concentration, such as a laser, which allowed him to scrutinize and interpret each work with an accent, dynamics, intonation, brightness, elegance and full range of emotions as a giant tuning fork, which somehow put the listener into a multifaceted scenario according to the program to run. It is therefore difficult to talk about a particular Richter sound.

This magnificent set spans from 1957 to 1962 where smartly and wisely Deutsche Gramophone was well aware about his overpowering gifts as pianist, and the kaleidoscopic repertoire included here seems to prove itself.

For many people, his Rach 2 conducted by Wisloski, is the maxim pinnacle about this score ever played and until this date never equalled. On the other hand, his Debussy was provided by other contours and profiles. His Tchaikovsky 1 with Karajan is unique by its own in what concerns its newful approach.

Suffice it to add that this set is a must for any serious lover of great music, it contains an essential stage in the existence of the grand master (the Richter recordings ranging from their 42 to 47 years).

Recommended without restrictions.

L'un des plus grands pianistes du 20ème siècle, Sviatoslav Richter (1915-1997) a enregistré 9 albums pour D.G. entre 1956 et 1962. Les 9 disques (en soliste ou en concerto) maintenant disponibles ensemble et, pour la première fois, à un petit prix.

Richter, artiste brillant reste une personnalité énigmatique, son style de vie refusait toute médiatisation ; il domine la scène musicale classique pendant de nombreuses années et maitrise un jeu terriblement "russe" dans presque tous les styles, de Bach aux oeuvres du 20e siècle. Son répertoire touche à l'ensemble de la littérature pour piano, mais il se montre particulièrement remarquable dans ses interprétations de Rachmaninov, de Prokofiev, de Ravel, de Chopin et de Beethoven et paradoxalement de Schubert, faisant ressortir chez ce dernier une profondeur insondable.

Magnifiquement présentés, les albums sont reproduits dans leur pochette d'origine avec la reproduction originale de chaque vinyl sur les CD.

Les bests :

Debussy:
Préludes - Book 1: No. 2, Voiles
Préludes - Book 1: No. 3, Le vent dans la plaine
Préludes - Book 1: No. 5, Les collines d'

Rachmaninov:
Piano Concerto No. 2 in C minor, Op. 18
Warsaw Philharmonic Orchestra, Witold Rowicki

Prelude Op. 32 No. 1 in C major
Prelude Op. 32 No. 2 in B flat minor
Prelude Op. 23 No. 2 in B flat major
Prelude Op. 23 No. 4 in D major
Prelude Op. 23 No. 5 in G minor
Prelude Op. 23 No. 7 in C minor
Prelude Op. 32 No. 12 in G sharp minor

Schubert:
Allegretto in C minor, D915
Ländler in A major

Tchaikovsky:
Piano Concerto No. 1 in B flat minor, Op. 23
Wiener Symphoniker, Herbert von Karajan

Dernier des grands artistes russes de son époque à être autorisé à se produire à l'étrangern un de ses défenseurs (immense pianiste également) Emil Gilels, qui après un triomphe aux États-Unis déclara aux journalistes "Attendez seulement d'entendre Richter!". Il ne sera autorisé à se produire à l'Ouest qu'en mai 1960 à Helsinkiet connaîtra ensuite la célébrité à l'Ouest après une tournée triomphale aux États-Unis fin 1960.

Ce coffret résume bien l'artiste, son jeu et son époque.

This is a magnificent 9-disc collection of the 20th century greatest piano genius who started touring Europe, Japan and America shorty after his native country Russia freed the World from Nazi plague. Unfortunately, a group of American hooligans (of propaganda hirelings) staged an infamous rowdy disruption of Maestro's performance during his 2nd US tour. They were scum who used Art for their petty political pursuits, shouting ugly slur at the face of the Artist, who was about to open them his heart. Sviatoslav Richter vowed that he would never again set his foot on American soil, and he kept his word for the rest of his life. He would often go on tours to Europe and Japan but America was crossed out from his heart. This is why this collection is a chance for Americans to hear Richter's legendary play uninterrupted and to send to Maestro, however belatedly, American apology.

There is only one teaspoon of turpentine in the barrel of honey: Herbert von Karajan's barbarous conduction of Tchaikovsky's Piano Concerto #1 on the disk #6. There were rumors that Karojan had a sick ego and resented other geniuses, or maybe he was just too much into Baroque and unable to tackle great Romantics. I have some CDs with Karojan conducting Bach's Brandenburg Concerts - there he is good. But here he just butchered Tchaikovsky and was constantly obstructing Richter's play. So, just donate the disk # 6 to a local library and enjoy the rest - it's superb!