Richter hatte nicht nur die Technik, diese schwierigen Schostakowitsch-Stücke zu spielen, sondern auch durch seine 'objektive' interpretatorische Sichtweise das Gemeinsame und Trennende des Komponisten von Johann Sebastian Bach hörbar zu machen. Einzigartig!
35:44 one of my favorite moments in DSCH piano works, where the Sturm und Drang fades away for an all-too-brief moment to let the listener's ear "gaze upon" the delicate contrapuntal core of the proverbial eye of this sonic hurricane, offering a furtive, meditative glimpse into the heart of his essential statement.
Słuchając takiego wykonania ma się nieodparte wrażenie, że w dyscyplinie preludiów i fug Dmitri Dmitrycz przerasta Jana Sebastiana o głowę 😉 Tym bardziej, że Światosław Teofilowicz nagrał kompletne WTK aż 3 razy i mimo, że na pewno się starał okazać wszystko, co jest w tym dziele, to w tych kilku wybranych kawałkach z op.87 jest jakieś unikatowe, niedające się opisać bogactwo emocjonalno-intelektualne 🙂 Taki sam charakter mają inne kawałki z op.87 nagrane w latach 80. dla Philipsa 🙂 Dzięki takim JSB, DDSz i ŚTR w nawet najgorszych czasach można powiedzieć, że "i żyt' charaszo i żyzn' charasza" 😉
Shostakovich regretted that Richter declined to play the entire cycle, and who would disagree? However, Richter twice recorded six of the individual pieces: these in 1963, and Nos. 3,6,7,2,18 & 4 in 1957; the pianist apparently preferred his earlier recording. Along with the composer's own recordings of excerpts, these provide the most reliable guide to the true nature of this enigmatic work. The only pianist who seems to have fully grasped the lessons of those recordings, and to have recorded the entire cycle, is Roger Woodward in his landmark 1975 version. In addition, Woodward brings his in-depth knowledge of both JS Bach and of the piano works of the USSR of the 1920s -- a key period in Shostakovich's creative life -- and never gives in to the temptation to inflate the music in the name of spurious "depth"; he fully understands that unease and deep anxiety lie beneath the surface, which makes the momentary oases of calm and beauty all the more poignant.
the 4th here in e minor convinced me that this guy was the ultimate interpreter of anything and everything. He was the most extraordinary pianist ever.
Richter is not my favorite for classic and romantic repertoire... but with respect to 20 century russian music... he is a force of nature .. this Shostakovitch is as great as his Prokofiev
It's a matter of taste, and even the greatest pianists can be perceived as stronger or weaker, depending on their affinity with their chosen repertoire. Rubenstein for Chopin. Anda for Brahms. Horowitz for Scriabin. Gould for very eclectic Bach. Benedetti Michelangeli for everything he ever played. Etc. Personally I find Richter's interpretations of Schubert impeccable.
Fehlerlose und wunderschöne Interpretation dieser neoklassischen und logisch konstruierten Klavierwerke im präzisen doch irgendwie lyrischen Tempo mit klar artikuliertem doch irgendwie anmutigem Anschlag und sorgfältig kontrollierter Dynamik. Bestimmt einer der zehn besten Pianisten im 20. Jahrhundert!
Why “Richter studio”?? I see this so often and have no idea what it means....did Richter have his own studio, in his apartment? Was the recording studio named “Richter,” or was there one only he was allowed to record in? Did he have a stable of musicians in his studio? In other words, does “Richter studio” have any meaning whatsoever, or is it simply pretentious?
![PURPEECH - นี่ฉันเองคนที่... (It's me) [Official MV]](http://i.ytimg.com/vi/NuhHd0hOOg8/mqdefault.jpg)
Richter hatte nicht nur die Technik, diese schwierigen Schostakowitsch-Stücke zu spielen,
sondern auch durch seine 'objektive' interpretatorische Sichtweise das Gemeinsame und
Trennende des Komponisten von Johann Sebastian Bach hörbar zu machen. Einzigartig!
Profound respect for the music is what comes through here. Surely among the iconic recordings of all time.
35:44 one of my favorite moments in DSCH piano works, where the Sturm und Drang fades away for an all-too-brief moment to let the listener's ear "gaze upon" the delicate contrapuntal core of the proverbial eye of this sonic hurricane, offering a furtive, meditative glimpse into the heart of his essential statement.
Wunderbare Musik, tolle Interpretation!
Шедевр. Браво, Маэстро! ❤
This is the ultimate brain food for soothing background music while thinking. Yes!
Третья книга ХТК. Шостакович - Бах 20 века. Изумительное исполнение!
Enchanting!!!
Wie stark ist nicht dein Zauberton, Herr Richter!!!
Słuchając takiego wykonania ma się nieodparte wrażenie, że w dyscyplinie preludiów i fug Dmitri Dmitrycz przerasta Jana Sebastiana o głowę 😉 Tym bardziej, że Światosław Teofilowicz nagrał kompletne WTK aż 3 razy i mimo, że na pewno się starał okazać wszystko, co jest w tym dziele, to w tych kilku wybranych kawałkach z op.87 jest jakieś unikatowe, niedające się opisać bogactwo emocjonalno-intelektualne 🙂 Taki sam charakter mają inne kawałki z op.87 nagrane w latach 80. dla Philipsa 🙂 Dzięki takim JSB, DDSz i ŚTR w nawet najgorszych czasach można powiedzieć, że "i żyt' charaszo i żyzn' charasza" 😉
Shostakovich regretted that Richter declined to play the entire cycle, and who would disagree? However, Richter twice recorded six of the individual pieces: these in 1963, and Nos. 3,6,7,2,18 & 4 in 1957; the pianist apparently preferred his earlier recording. Along with the composer's own recordings of excerpts, these provide the most reliable guide to the true nature of this enigmatic work. The only pianist who seems to have fully grasped the lessons of those recordings, and to have recorded the entire cycle, is Roger Woodward in his landmark 1975 version. In addition, Woodward brings his in-depth knowledge of both JS Bach and of the piano works of the USSR of the 1920s -- a key period in Shostakovich's creative life -- and never gives in to the temptation to inflate the music in the name of spurious "depth"; he fully understands that unease and deep anxiety lie beneath the surface, which makes the momentary oases of calm and beauty all the more poignant.
the 4th here in e minor convinced me that this guy was the ultimate interpreter of anything and everything. He was the most extraordinary pianist ever.
Richter is not my favorite for classic and romantic repertoire... but with respect to 20 century russian music... he is a force of nature .. this Shostakovitch is as great as his Prokofiev
It's a matter of taste, and even the greatest pianists can be perceived as stronger or weaker, depending on their affinity with their chosen repertoire. Rubenstein for Chopin. Anda for Brahms. Horowitz for Scriabin. Gould for very eclectic Bach. Benedetti Michelangeli for everything he ever played. Etc. Personally I find Richter's interpretations of Schubert impeccable.
Who is?
magico!
Some kind of aspect that S himself didn’t bring to these. Unusual.
Richter. The pianist.
Fehlerlose und wunderschöne Interpretation dieser neoklassischen und logisch konstruierten Klavierwerke im präzisen doch irgendwie lyrischen Tempo mit klar artikuliertem doch irgendwie anmutigem Anschlag und sorgfältig kontrollierter Dynamik. Bestimmt einer der zehn besten Pianisten im 20. Jahrhundert!
Nicht die Top Ten, sondern drei
Terrific.
Необычная музыка...
4:00 35:44
!
*no. 14 in e-flat minor :)
Thank you. I was confused.
Shostakovich. Imagine composing a symphony with Stalin looking over your shoulder.
LOL
Was soll das?
Finde ich nicht witzig!
Neither did Shostakovich!
No 14 in B flat *minor*
#OdedFriedGaon #OdedMusic #OdedFullAlbumPlaylist #OdedWeekendPlaylist #OdedLengthySonicMasterpieces
#Audioded
That is the proof that God exist.
And perhaps it is within this kind of genius that God does exist
Why “Richter studio”?? I see this so often and have no idea what it means....did Richter have his own studio, in his apartment? Was the recording studio named “Richter,” or was there one only he was allowed to record in? Did he have a stable of musicians in his studio? In other words, does “Richter studio” have any meaning whatsoever, or is it simply pretentious?
It only means that it has been recorded in studio conditions.