"Unerring" is the word that comes to mind--and I'm not talking about technique. I am referring to "heart." He never misses the heart's cry, whether forte or piano. What must his own heart have been like?
It's been years since i've learned the G-flat impromptu, and I keep going back to it every once in a while to keep it fresh in memory. Infact, it's one of the few pieces that i could play from start to finish in any given moment. This being said, I recognize that it is very easy to play, it fits the hand perfectly, being 100% "pianistic". Transposing it into G major not only takes away the sweetness of the keys (like very low C flat Major) but it also becomes, in my opinion, more difficult to play. The constant arpeggio figure on the right hand is easier on the black keys. Finally, don't think that the piece is always in that key… He wanders a lot harmonically!
Am surprised you think it "easy". Even for the best pianist(youtube shows) it is extremely difficult to keep the contrasting figures of the left and right hands even and in dialogue.
@meredith218461 About louder fortissimo issues - unlike Horowitz with his own Steinway B, Richter probably had to play on quite poorly maintained pianos, and probably often on something named "Red October" or "Estonia"... Those were not suited well for Schubert as you might suppose...
it is hard to play in G flat, the black keys don't depress easily, and it never lets the fingers rest. But the sound to my ear is more like a forest stream at night in g-flat. It is still great in g, but loses the darker beauty imparted by the black keys.
*Richter* played it in G flat, suggesting he transposed it to another key "cause it's easier to play that way" is straight up one of the most hilarious things I've read on a YT comment section. It *is* in G major, but only due to a faulty transfer. Had an LP of Gilels playing the Symphonic Etudes in D minor - that recording has since come out on DVD and it's obviously in C sharp. These things happen.
Interestingly both Richter and Horowitz (Live in Vienna) adopt identical tempi in the Impromptu which in my opinion allow the phrases to breathe. These are indeed great interpretations, my only little quibble is that I find some of Richter's fortissimo's disproportionately loud.
I love Richter especially for Schubert (who has become my favorite piano composer) but Horowitz's impromptu is just transcendtal one of the best performances of any piece ever IMO. And yes the tempo is perfect it "sings" at this tempo
Tempi are a matter of taste - in interpreters and listeners. Correct, Richter and Horowitz play it at the same speed; some play it even slower. Too slow for me: I much prefer Brendel's version. And I simply remark Schubert marked it "Andante", not Lento!
Richter and his intolerably slow tempos... The melody constantly on the verge of disappearing or dying of asphyxy... All the tension and emotion gone... Well, there must be stuff for all tastes on earth.
Both beauty and suffering are heightened by a slower tempo. Playing this kind of music (Schubert) too quickly results in superficiality, in my opinion.
I think Rcihter playing doesn't suit for little gracefull pieces like the waltzes where a more gentle, nuanced style would be more pleasant (a la Horowitz) . Richter plays too straight and strong. I keep Richter for the raw power of Prokofiev where he is the greatest interpreter.
greatest interpreter of Schubert, EVER
je préfère alfred Brendel
Amazing... Definitive interpretations... Richter, you are a legend, the greatest pianist in the world. R.I.P.
A titan of piano!
This is really beautiful..
Sublime !
"Unerring" is the word that comes to mind--and I'm not talking about technique. I am referring to "heart." He never misses the heart's cry, whether forte or piano. What must his own heart have been like?
Wonderful comment !
James, my understanding is that Richter was a rather lonely and solitary man, a bit comparable with Evgeny Kissin.
And now--in 2022--even more poignant is this recording from Kyiv by a genius born in the Ukraine.
@@mmbmbmbmb Thanks! How fortunate we are to have a recording of this Richter concert!
Poignant... that's it.
But his rendition is sublime and beautiful as well.
Absolutely gorgeous!
bach5861 Schubert
I was thinking the same thing about richter's loudness.
Lo maximo de su epoca
Extremely gorgeous ~~
It's been years since i've learned the G-flat impromptu, and I keep going back to it every once in a while to keep it fresh in memory. Infact, it's one of the few pieces that i could play from start to finish in any given moment. This being said, I recognize that it is very easy to play, it fits the hand perfectly, being 100% "pianistic". Transposing it into G major not only takes away the sweetness of the keys (like very low C flat Major) but it also becomes, in my opinion, more difficult to play. The constant arpeggio figure on the right hand is easier on the black keys. Finally, don't think that the piece is always in that key… He wanders a lot harmonically!
Am surprised you think it "easy". Even for the best pianist(youtube shows) it is extremely difficult to keep the contrasting figures of the left and right hands even and in dialogue.
@SviatoslavRichterSpa Sono assolutamente d'accordo con questo commento...
Bravo
@meredith218461 About louder fortissimo issues - unlike Horowitz with his own Steinway B, Richter probably had to play on quite poorly maintained pianos, and probably often on something named "Red October" or "Estonia"... Those were not suited well for Schubert as you might suppose...
omg he was cute too.. when he was young... :p
At 20:40 you can find the passage, which Schubert 'stole from Vandelis'. Or...
To me, Richter and Brendel are the two ones ever.
it is hard to play in G flat, the black keys don't depress easily, and it never lets the fingers rest. But the sound to my ear is more like a forest stream at night in g-flat. It is still great in g, but loses the darker beauty imparted by the black keys.
yes - thank goodness it's playing in g-flat!
*Richter* played it in G flat, suggesting he transposed it to another key "cause it's easier to play that way" is straight up one of the most hilarious things I've read on a YT comment section.
It *is* in G major, but only due to a faulty transfer. Had an LP of Gilels playing the Symphonic Etudes in D minor - that recording has since come out on DVD and it's obviously in C sharp. These things happen.
Interestingly both Richter and Horowitz (Live in Vienna) adopt identical tempi in the Impromptu which in my opinion allow the phrases to breathe. These are indeed great interpretations, my only little quibble is that I find some of Richter's fortissimo's disproportionately loud.
I love Richter especially for Schubert (who has become my favorite piano composer) but Horowitz's impromptu is just transcendtal one of the best performances of any piece ever IMO. And yes the tempo is perfect it "sings" at this tempo
@ym42ym42 Quite possibly the case, I had'nt thought of that scenario.
Me, too
"The best" means absolutely nothing in this context... He is *the one you prefer*, period. Take care.
Mexico
Κάποτε νομίζα ότι πάει πόλύ γρήγορα (τι θράσος κ΄αυτό εκ μέρους μου). Στον Schubert δεν αφήνει περιθώρια κριτικής. Δίνει νόημα στην επανάληψη.
+mourgoukos Και που να τον ακούσεις στο D960., ιδιαίτερα στο δεύτερο μέρος.
Tempi are a matter of taste - in interpreters and listeners. Correct, Richter and Horowitz play it at the same speed; some play it even slower. Too slow for me: I much prefer Brendel's version. And I simply remark Schubert marked it "Andante", not Lento!
Brendel is a good pianist but rather pedestrian when compared to Richter, whose unique control of musical time makes his Schubert a unique experience.
I looked at the score for the Impromptu; What is the point of the double cut-time symbol?
@earthypig Ahah! Yes, i have some sympathy for that comment.
I think french should be: Valses/Écossaises. English is Waltzes, it is right.
Gb is easier. Easier to hold onto!
I like G flat better
Richter and his intolerably slow tempos... The melody constantly on the verge of disappearing or dying of asphyxy... All the tension and emotion gone... Well, there must be stuff for all tastes on earth.
Both beauty and suffering are heightened by a slower tempo. Playing this kind of music (Schubert) too quickly results in superficiality, in my opinion.
I think Rcihter playing doesn't suit for little gracefull pieces like the waltzes where a more gentle, nuanced style would be more pleasant (a la Horowitz) . Richter plays too straight and strong. I keep Richter for the raw power of Prokofiev where he is the greatest interpreter.