Those were the recitals we used to go to in those days... Rubinstein, Horowitz, Arrau, Serkin, Richter, Gilels, Michelangeli, the yong Argerich, Bolet, Cziffra, Kempff, Samson François, De Larrocha, Annie Fischer, Lazar Berman... And in the opera house! My God! Times have changed, for some reason...I hope this kind of artists returns to this planet one day!
Such artists WILL return some day because the music will grab talented individuals who will realize that the composers have offered them a way to express their souls--the only way they have. This is what is missing today--in the concert hall and the opera house: people who are willing to be transparent (naked) before an audience and "speak" their pain, their hopes, their joys, their losses.
A personal yet sublime interpretation of Schumann's 2nd piano sonata. The dynamic changes are so dramatic thst Richter plays them with such detail and ferocity the 1st movement, sensitivity and innocence in the 2nd, and a fiiery end to finish it off. A magnificent performance all in all!
Spannende live Aufführung dieser perfekt komponierten Klaviersonate im relativ schnellen Tempo mit völlig effektiver Dynamik. Bestimmt die beste Kombination der höchsten Technik und der angeborenen Lyrik. Einfach wunderbar!
I forgot to say that they all had their bad evenings... different kinds of bad evenings, depending on the player...Martha Argerich running away (frome the audience???), Horowitz and passages that did not want to come...Michelangeli's ice cold perfection...and this same wonderfull Richter could sound very ugly! But it all was part of their greatness, of the excitement they provoqued on us...and suddenlly, they would pierce your heart and bring tears to you eyes...
Sometimes he play so "p" that I cannot hearing without controlling my audio to more fort or less.But he is my idol.I love everything he plays. The best releasing of this sonate.
Keiner spielt die vielfältigen Prestissimi dieser Sonate (vor allem den wie aus einem Geheimnis kommenden finalen Trillerteppich) auch so gestalterisch wie Richter, keiner aber auch das Andantino so tiefgründig wie ER, der wahre Jahrhundert-Maestro am Klavier.
nein, dies ist mehr als 'schön' Diese Musik ist wirklich auf sich ein Wunder. Was Richter hier tut, er dies macht ist nicht zu verstehen. Er ist selber die Musik geworden und ja das ist beängstigend und zugleich total 'liebenswürdig'. Einfach keine worte für so etwas zu finden. Und dann auch Schumann zuerst....
Florestan und Eusebius kommen beide zu Wort, mit Feuer, Phantasie und lyrischer Schwärmerei. Richters tiefschürfende Einsicht in Schumanns Poetik ermöglicht ihm, alle Dimensionen dieser Musik auszuloten, um nicht von der technischen Souveränität zu sprechen!
Еще одно "закрытие" темы. Кажется, что лучше сыграть невозможно, хотя существуют еще четыре замечательные записи этой сонаты, сделанные Рихтером в разные годы. Фотографии с концерта Рихтера в Милане желающие найдут на сайте www.svrichter.com/photos/new-photos/ Там же фотографии, сделанные после одного из концертов в "Скала" 03&04/10/62. Тогда был исполнен 2-й концерт Брамса с Челибидаке.
Schumann non è un compositore facile ne per l'interprete ne per l'ascoltatore, comunque Richter riesce , indipendentemente dalla qualità dei pianoforti , a chiarire molti aspetti difficili della musica che interpreta
Martha's version of this piece is just fantastic, but we have to say that he has much more courage than her with the pedals: he actually plays many passages with very little pedal or none at all...and that she is not prepared to do, never ever!
Did Schumann really mean “so rasch wie möglich” to play it as fast as Richter does? I prefer a slower tempo, even if it the pianist could actually play it faster. 😀
Не лучше, но другой прекрасный исполнитель Шумана. Слава богу, они с Гилельсом никогда не играли одинаково, каждый находил свои уникальности, не разрывая связь с композитором. Зачем отвергать одного гения из за того, что Вам нравится другой?
This could not be better played but the music is "in extremis" and the listener is drawn into a world of mental illness which is disturbed and disturbing.
Schumann is a very sensitive composer, typical romantic as Eichendorff e.g., his music doesnot show anything of his mental illness, this is a prejudice
If a person with mental illness finds conversation or whatever difficult then how can you deny his compositions were crafted because of how his mental illness affected him. If his illness affected his life then you must be in denial if it could not influence how he composed.
@@debwagner7505 Yeah I'm sure on a surface level people will inherently believe that idea to be ridiculous. Would anyone actually think that Beethoven was somehow completely unaffected by his deafness though??
@@leomiller2291 I believe you can mention Michelangeli and Rachmaninoff in the same sentence. No one else fits all the criteria (sublime playing, earth shattering concerts, we have real recordings of them, etc)
![[TH] 2024 PMGC League | Survival Stage วันที่ 1 | PUBG MOBILE Global Championship](http://i.ytimg.com/vi/FVFT-PFwU80/mqdefault.jpg)
Those were the recitals we used to go to in those days... Rubinstein, Horowitz, Arrau, Serkin, Richter, Gilels, Michelangeli, the yong Argerich, Bolet, Cziffra, Kempff, Samson François, De Larrocha, Annie Fischer, Lazar Berman... And in the opera house! My God! Times have changed, for some reason...I hope this kind of artists returns to this planet one day!
Such artists WILL return some day because the music will grab talented individuals who will realize that the composers have offered them a way to express their souls--the only way they have. This is what is missing today--in the concert hall and the opera house: people who are willing to be transparent (naked) before an audience and "speak" their pain, their hopes, their joys, their losses.
@@jamesnickoloff6692 Now they play the piano because it is placed in front of them (not to express them, like Cortot did).
@@森文彦-m4y pessimist. there are so many great young pianists who are forging their own means of expression through new repertoire, new ideas...
The master at work. One of richter’s greatest recordings!!
the andantino is an absolute treasure. thank you Robert and Sviatoslav, from the bottom of my heart.
A personal yet sublime interpretation of Schumann's 2nd piano sonata. The dynamic changes are so dramatic thst Richter plays them with such detail and ferocity the 1st movement, sensitivity and innocence in the 2nd, and a fiiery end to finish it off.
A magnificent performance all in all!
Spannende live Aufführung dieser perfekt komponierten Klaviersonate im relativ schnellen Tempo mit völlig effektiver Dynamik. Bestimmt die beste Kombination der höchsten Technik und der angeborenen Lyrik. Einfach wunderbar!
I forgot to say that they all had their bad evenings... different kinds of bad evenings, depending on the player...Martha Argerich running away (frome the audience???), Horowitz and passages that did not want to come...Michelangeli's ice cold perfection...and this same wonderfull Richter could sound very ugly! But it all was part of their greatness, of the excitement they provoqued on us...and suddenlly, they would pierce your heart and bring tears to you eyes...
It is hard to understand your opposite views. Let me ask You: What is your scale - the music or the musician...?!
@@wolfgangklofat594 The music needs the musician in order to be heard.
@@giovanna722 Yes, and the better the musician plays the better you can hear and understand the music...
As far as I know Michelangeli never recorded this sonata..🤔
Sometimes he play so "p" that I cannot hearing without controlling my audio to more
fort or less.But he is my idol.I love everything he plays. The best releasing of this sonate.
Yep, and that’s a good thing. A pianist should be judged by his control of pianissimos, and a haunting pianissimo was a main goal of Richter’s.
Thanks for sharing this wonderful recording!
This man is build different
Keiner spielt die vielfältigen Prestissimi dieser Sonate (vor allem den wie aus einem Geheimnis kommenden finalen Trillerteppich) auch so gestalterisch wie Richter, keiner aber auch das Andantino so tiefgründig wie ER, der wahre Jahrhundert-Maestro am Klavier.
Un des plus grand, une des meilleurs interprétations avec Gilels Berman, Michelangeli,
nein, dies ist mehr als 'schön' Diese Musik ist wirklich auf sich ein Wunder. Was Richter hier tut, er dies macht ist nicht zu verstehen. Er ist selber die Musik geworden und ja das ist beängstigend und zugleich total 'liebenswürdig'. Einfach keine worte für so etwas zu finden.
Und dann auch Schumann zuerst....
Florestan und Eusebius kommen beide zu Wort, mit Feuer, Phantasie und lyrischer Schwärmerei. Richters tiefschürfende Einsicht in Schumanns Poetik ermöglicht ihm, alle Dimensionen dieser Musik auszuloten, um nicht von der technischen Souveränität zu sprechen!
Pienkni! Beautifull!
Dans les années 60 Richter était insurpassable dans pratiquement tout ce qu'il jouait.
Et jusqu'à sa mort à l'âge de 82 ans.
Absolutamente de acuerdo.
Qualcuno ha detto:"In sostanza esistono 2 pianisti... Franz Liszt e Sviatoslav Richter. Giuseppe Perego Monza 16.2.1962
Beutiful !
Thanks
That's a sophism. You have to not be great to reason like this and think it's true.
Еще одно "закрытие" темы. Кажется, что лучше сыграть невозможно, хотя существуют еще четыре замечательные записи этой сонаты, сделанные Рихтером в разные годы. Фотографии с концерта Рихтера в Милане желающие найдут на сайте www.svrichter.com/photos/new-photos/
Там же фотографии, сделанные после одного из концертов в "Скала" 03&04/10/62. Тогда был исполнен 2-й концерт Брамса с Челибидаке.
immer wieder ein herliches Stück
bewegend, anrührend..........
I know very well the version of Kempff which is more mellow. The version of Richter seems to me closer to the intents of Schumann.
th-cam.com/video/2vxpwVzKcEc/w-d-xo.html here
Gérard Begni how u know?
Richter possessed an incredible intuition for each composition he ever played. His understanding of the intent was miraculous.
stark und perfekt
Ein gefährliches Stück, diese Sonate...
..in mehrfacher Hinsicht!
Thank you my friend for your interest!
:-)
in meiner Hinsicht ich kann wann Richter hier spielt ruhig mit Ihm mitfahren , wohin auch, ist immer fantaschtich ;-)
Вот ещё музыка для Рихтера.
schön !
Schumann non è un compositore facile ne per l'interprete ne per l'ascoltatore, comunque Richter riesce , indipendentemente dalla qualità dei pianoforti , a chiarire molti aspetti difficili della musica che interpreta
I adore his interpretation but I love Martha Argerich's vision
Richter really didn't mind playing on bad pianos...
The recording is from 1962...
Ip Leonard all digital piano is bad
Probably because he could make just about any piano sound good... the man was an absolute freak of nature
Richter was known for not caring about a piano’s quality. He said an elite pianist can make any piano sound good, and he’s proof of it.
Nobody did crescendo like Richter.
Martha's version of this piece is just fantastic, but we have to say that he has much more courage than her with the pedals: he actually plays many passages with very little pedal or none at all...and that she is not prepared to do, never ever!
luiz g lets see how they play it at digital piano
Actually Schumann loved to hold the piano pedal down just to hear what effect it would have and the harmonies that would be created
Actually she's always prepared to do it, she's really one of the best at pedaling. Just not in that recording
@@anotherdepressedmusician She is a genius of the piano, that's it!
What a wonderful performance on such a badly tuned piano...No piano technicians in Milan ?
Did Schumann really mean “so rasch wie möglich” to play it as fast as Richter does? I prefer a slower tempo, even if it the pianist could actually play it faster. 😀
Гениально. Лучше Гилельса)
Не лучше, но другой прекрасный исполнитель Шумана. Слава богу, они с Гилельсом никогда не играли одинаково, каждый находил свои уникальности, не разрывая связь с композитором. Зачем отвергать одного гения из за того, что Вам нравится другой?
Ну у Гилельса замечательное исполнение в плохой записи)
@@светланаавласович-ш1я 😆
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Советский марш толкателей ядра.
This could not be better played but the music is "in extremis" and the listener is drawn into a world of mental illness which is disturbed and disturbing.
Schumann is a very sensitive composer, typical romantic as Eichendorff e.g., his music doesnot show anything of his mental illness, this is a prejudice
If a person with mental illness finds conversation or whatever difficult then how can you deny his compositions were crafted because of how his mental illness affected him. If his illness affected his life then you must be in denial if it could not influence how he composed.
That`s what is so wonderful about Schumann! His music refiects his inner world, "distubed and disturbing" as it is.
Grahm: So was Beethoven's music colored by his deafness ? Or Tchaikovsky's by homosexuality ? Or Schubert's by syphilis ?
@@debwagner7505 Yeah I'm sure on a surface level people will inherently believe that idea to be ridiculous. Would anyone actually think that Beethoven was somehow completely unaffected by his deafness though??
I think Martha Argerich plays this sonata better than anyone else.
Niet
Let us not mention Argerich, sublime as she may be, on a same sentence with Richter. Please. We are not savages after all.
No, here; th-cam.com/video/V2S0Nce-AUg/w-d-xo.html
I'm going to do you a favor and assume you said this on April Fool's day 4 years ago.
@@leomiller2291 I believe you can mention Michelangeli and Rachmaninoff in the same sentence. No one else fits all the criteria (sublime playing, earth shattering concerts, we have real recordings of them, etc)