Richter the Master, Vol. 1: Beethoven Sviatoslav Richter

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CD

  • Release Date: 05/08/2007
  • Original Release: 1994
  • 2 Disc Set
  • Sales Rank: 74,259
  • Label: DECCA
  • UPC: 028947581246

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Track List
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Richter the Master, Vol. 1: Beethoven

Disc 1
1LISTENPiano Sonata No. 19 in G
2LISTENPiano Sonata No. 19 in G
3LISTENPiano Sonata No. 20 in G
4LISTENPiano Sonata No. 20 in G
5LISTENPiano Sonata No. 22 in F
6LISTENPiano Sonata No. 22 in F
7LISTENPiano Sonata No. 23 in F
8LISTENPiano Sonata No. 23 in F
9LISTENPiano Sonata No. 23 in F

Disc 2
1LISTENPiano Sonata No. 30 in E
2LISTENPiano Sonata No. 30 in E
3LISTENPiano Sonata No. 30 in E
4LISTENPiano Sonata No. 31 in A
5LISTENPiano Sonata No. 31 in A
6LISTENPiano Sonata No. 31 in A
7LISTENPiano Sonata No. 31 in A
8LISTENPiano Sonata No. 32 in C
9LISTENPiano Sonata No. 32 in C
10LISTENPiano Sonata No. 32 in C

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About this Artist

Editorial Reviews

For those who missed them the first time around, here are Sviatoslav Richter's 1991 and 1992 recordings of seven piano sonatas by Beethoven again. First released by Philips in a 20-disc Richter Edition from 1994, the same performances are re-released here on Decca in transfers that are essentially identical to the originals. Unfortunately, it has to be acknowledged that for the most part these are not Richter's finest recordings of the works. The three two-movement sonatas that open the first disc, Opus 49 Nos. 1 and 2 and Opus 54, are examples of the Soviet giant at his best -- that is, technically flawless, brilliantly incisive, and interpretively sublime -- but it's quickly downhill from there. Compared with any of his three electrifying 1960 recordings, this 1991 "Appassionato, Op. 57," is dull, sloppy, and clangorous. And compared with his exhilarating 1963 Leipzig recordings, these 1992 recordings of Opus 109, 110, and 111 are stolid, scrappy, and affected. Fortunately, even at less than his best, Richter is still amazing. Although not up to the reckless tempos of the Appassionato's finale nor the angular counterpoint of the last three sonatas, his ideal balances, soulful phrasing, and radiant lyricism in the slow movements still make these performances well worth hearing by fans of the pianist. Recorded live in Amsterdam and Stuttgart, the digital sound is slightly hazy, but very evocative. James Leonard, All Music Guide

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