Album available // Beethoven: Piano Sonata No. 23 in F minor, Op. 57 "Appassionata" by Sviatoslav Richter 🎧 Qobuz (Hi-Res) bit.ly/3tdUd1m Tidal (Hi-Res) bit.ly/3tin9VY 🎧 Apple Music (Lossless) apple.co/3UtpjNJ Deezer (Hi-Fi) bit.ly/3GzAfRO 🎧 Amazon Music (Hi-Res) amzn.to/3NflbfW Spotify (mp3) spoti.fi/3GB64Ke 🎧 UA-cam Music (mp3) bit.ly/3NhTHq8 🎧 Napster, Pandora, Anghami, Soundcloud, QQ音乐, LineMusic, Awa 日本… ❤🔊 Support un on Patreon www.patreon.com/cmrr // ua-cam.com/video/69pMh3X-jIk/v-deo.html ❤🔊 Discover our Website (world's best remastered editions) classicalmusicreference.com/ Ludwig van Beethoven (1770-1827) Piano Sonata No. 23 in F minor, Op. 57 "Appassionata" 00:00 I. Allegro assai 10:46 II. Andante con moto 16:43 III. Allegro ma non troppo Piano: Sviatoslav Richter Recorded in 1960 New mastering in 2023 by A for CMRR 🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): bit.ly/3Mraw1r 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ): bit.ly/370zcMg 🔊 Follow us on Spotify: spoti.fi/3016eVr APPASSIONATA. Sonata in F minor, Opus 57, by Beethoven, dedicated to Count Franz von Brunswick. The name "Appassionata" was not given by Beethoven himself; it was the publisher Cranz from Hamburg who named it so. This sonata was probably composed in 1806, but Ferdinand Ries asserts that the finale was already written in 1804: "We had lost our way during a walk, and it was eight o'clock in the evening when we returned to Döbling, where Beethoven was staying at the time. While walking, he had been murmuring and humming continuously, but without singing any specific notes. When I asked him what he was singing, he told me: 'A theme for the last movement of the sonata just came to mind!' When we arrived in his room, he rushed to the piano, without even taking off his hat. And, for over an hour, he worked on the new and magnificent finale of this sonata. Finally, he got up. He seemed surprised to see me still there and said, 'Today, I won't be able to give you a lesson, I have to continue my work.'" It seems that, in reality, Beethoven worked on this sonata for a long time and it had only just been completed when he went to stay in Silesia, on the estate of Prince Lichnowsky. It was shortly after the Battle of Jena, and a number of French officers were staying at the castle. One day, at the table, one of these officers made the mistake of asking, with a friendly condescension, if Beethoven "also knew something about violin music." The great man became angry, and an unpleasant scene ensued. As the prince persisted in his attempts to get him to play for them, Beethoven left the estate in the middle of the night and walked in a melting snowstorm to Troppau, the nearest town, to find a room for the night. From there, he wrote a letter to the prince containing the often-quoted lines: "Your Highness, what you are, you became by chance and by your birth. What I am, I am by my own merit. There have always been and there will always be thousands of princes, but there is only one Beethoven!" Shortly after, the composer returned home to Vienna and entrusted the excellent pianist Marie Bigot with playing the sonata from the crumpled and half-torn manuscript. It is said that Beethoven himself considered it the best of his sonatas. The sense of humor that so often reconciled him with life during its darkest hours does not appear in this work. It is only darkness, "Weltschmerz" (the pain of the world), untamed passion, and a will as hard as iron. Bernhard Marx wrote about this sonata: "This sonic tableau is, from beginning to end, as if wrapped in the black mantle of the night." Conversely, Sir Hubert Parry said: "Here, the human soul has posed grave questions to God and has received his answer." This would coincide with Beethoven's own words when asked for explanations: "Read Shakespeare's 'The Tempest.'" No one is yet certain what he meant by that. But, as "The Tempest" contains several hidden allusions to the occult sciences, it has been claimed that this was what he had in mind. Allegro assai. From the very beginning of the first movement, the "powers of darkness" make their appearance, and although the subsidiary theme in A-flat major has a softer character, it is subordinate to the main theme to the point that it cannot assert itself independently. Never had a sonata begun in such a mysterious way, with a pianissimo arpeggio, in an equivocal tempo (it could be mistaken for a slow introduction). The discourse is punctuated by silences, the harmony questioning, before the melodic line explodes into chords of unprecedented brutality. To create a change of color, the second theme shifts to A-flat major. Nevertheless, it borrows its contours from the initial motif, maintaining a sense of unity. Beethoven exploits the full range of the keyboard, contrasts registers, and multiplies nuances. At the end of the movement, the coda sinks into the extreme bass, triple piano, as if exhausted by the struggle. Andante con moto. The Andante with variations brings some respite. It is a variation movement distinguished by the very simplicity of its notation, modulation, and overall musical structure. In the spirit of a chorale, its melody is almost static (in the first two phrases, it uses only two notes): the theme owes its expressiveness to harmony and the movement of inner voices. Throughout the variations, the rhythmic writing gives a sense of acceleration through the use of increasingly shorter note values; progress is also made in terms of register, which reaches the high notes. When the theme is reprised at the end of the movement, its conclusion evades, replaced by a tense and fortissimo chord that announces the finale. Allegro ma non troppo presto. This second Allegro reconnects with the tragic tone of the first movement. A rare feature in form, the exposition is not repeated, while Beethoven insists on the need to resume the development-recapitulation block. An accelerando leads to the Presto coda, whose frenzy remains intact until the last note. It is in the "wildly agitated" character of this movement, according to Riemann's expression, that one has sought the connection that this sonata could have with Shakespeare's "The Tempest." However, the storm in the Appassionata does not end in a peaceful idyll: it is through the force of his will that Beethoven emerges victorious. This is certainly the greatest "Appassionata" in recording history. Sviatoslav Richter is here at the peak of his art, an art that can be described as "visionary". Album available // Beethoven: Piano Sonatas Op. 109, 110, 111 by Sviatoslav Richter 🎧 Qobuz (Hi-Res) bit.ly/35mManj Apple Music (Lossless) apple.co/3LmsWNU 🎧 Deezer (Hi-Fi) bit.ly/3vE45Af Tidal (Hi-Fi) bit.ly/3sGlBSJ 🎧 Amazon Music (Hi-Fi) amzn.to/34dbZFJ Spotify (mp3) spoti.fi/3MirfCt 🎧 UA-cam Music (mp4) bit.ly/48J5MxM 🎧 Naspter, Pandora, Anghami, Soundcloud, QQ音乐, LineMusic, AWA日本… Ludwig Van Beethoven PLAYLIST (reference recordings): ua-cam.com/video/WUYeYsLMLus/v-deo.html
I bought this performance on an RCA Gold Seal LP over 50 years ago, and I immediately knew I was in the presence of greatness, and that this recording would never be surpassed. And it never has, and never will be.
Dynamische und wunderschöne Interpretation dieser leidenschaftlichen doch perfekt komponierten Klaviersonate im veränderlichen Tempo mit kräftigem doch elegantem Anschlag und mit möglichst effektiver Dynamik. Der zweite Satz klingt besonders schön und echt beruhigend. Im Kontrast klingt der dritte Satz echt lebhaft und auch überzeugend. Wunderbar und atemberaubend zugleich!
APPASSIONATA. Sonata in F minor, Opus 57, by Beethoven, dedicated to Count Franz von Brunswick. The name "Appassionata" was not given by Beethoven himself; it was the publisher Cranz from Hamburg who named it so. This sonata was probably composed in 1806, but Ferdinand Ries asserts that the finale was already written in 1804: "We had lost our way during a walk, and it was eight o'clock in the evening when we returned to Döbling, where Beethoven was staying at the time. While walking, he had been murmuring and humming continuously, but without singing any specific notes. When I asked him what he was singing, he told me: 'A theme for the last movement of the sonata just came to mind!' When we arrived in his room, he rushed to the piano, without even taking off his hat. And, for over an hour, he worked on the new and magnificent finale of this sonata. Finally, he got up. He seemed surprised to see me still there and said, 'Today, I won't be able to give you a lesson, I have to continue my work.'" It seems that, in reality, Beethoven worked on this sonata for a long time and it had only just been completed when he went to stay in Silesia, on the estate of Prince Lichnowsky. It was shortly after the Battle of Jena, and a number of French officers were staying at the castle. One day, at the table, one of these officers made the mistake of asking, with a friendly condescension, if Beethoven "also knew something about violin music." The great man became angry, and an unpleasant scene ensued. As the prince persisted in his attempts to get him to play for them, Beethoven left the estate in the middle of the night and walked in a melting snowstorm to Troppau, the nearest town, to find a room for the night. From there, he wrote a letter to the prince containing the often-quoted lines: "Your Highness, what you are, you became by chance and by your birth. What I am, I am by my own merit. There have always been and there will always be thousands of princes, but there is only one Beethoven!" Shortly after, the composer returned home to Vienna and entrusted the excellent pianist Marie Bigot with playing the sonata from the crumpled and half-torn manuscript. It is said that Beethoven himself considered it the best of his sonatas. The sense of humor that so often reconciled him with life during its darkest hours does not appear in this work. It is only darkness, "Weltschmerz" (the pain of the world), untamed passion, and a will as hard as iron. Bernhard Marx wrote about this sonata: "This sonic tableau is, from beginning to end, as if wrapped in the black mantle of the night." Conversely, Sir Hubert Parry said: "Here, the human soul has posed grave questions to God and has received his answer." This would coincide with Beethoven's own words when asked for explanations: "Read Shakespeare's 'The Tempest.'" No one is yet certain what he meant by that. But, as "The Tempest" contains several hidden allusions to the occult sciences, it has been claimed that this was what he had in mind. Allegro assai. From the very beginning of the first movement, the "powers of darkness" make their appearance, and although the subsidiary theme in A-flat major has a softer character, it is subordinate to the main theme to the point that it cannot assert itself independently. Never had a sonata begun in such a mysterious way, with a pianissimo arpeggio, in an equivocal tempo (it could be mistaken for a slow introduction). The discourse is punctuated by silences, the harmony questioning, before the melodic line explodes into chords of unprecedented brutality. To create a change of color, the second theme shifts to A-flat major. Nevertheless, it borrows its contours from the initial motif, maintaining a sense of unity. Beethoven exploits the full range of the keyboard, contrasts registers, and multiplies nuances. At the end of the movement, the coda sinks into the extreme bass, triple piano, as if exhausted by the struggle. Andante con moto. The Andante with variations brings some respite. It is a variation movement distinguished by the very simplicity of its notation, modulation, and overall musical structure. In the spirit of a chorale, its melody is almost static (in the first two phrases, it uses only two notes): the theme owes its expressiveness to harmony and the movement of inner voices. Throughout the variations, the rhythmic writing gives a sense of acceleration through the use of increasingly shorter note values; progress is also made in terms of register, which reaches the high notes. When the theme is reprised at the end of the movement, its conclusion evades, replaced by a tense and fortissimo chord that announces the finale. Allegro ma non troppo presto. This second Allegro reconnects with the tragic tone of the first movement. A rare feature in form, the exposition is not repeated, while Beethoven insists on the need to resume the development-recapitulation block. An accelerando leads to the Presto coda, whose frenzy remains intact until the last note. It is in the "wildly agitated" character of this movement, according to Riemann's expression, that one has sought the connection that this sonata could have with Shakespeare's "The Tempest." However, the storm in the Appassionata does not end in a peaceful idyll: it is through the force of his will that Beethoven emerges victorious. This is certainly the greatest "Appassionata" in recording history. Sviatoslav Richter is here at the peak of his art, an art that can be described as "visionary". Album available // Beethoven: Piano Sonatas Op. 109, 110, 111 by Sviatoslav Richter 🎧 Qobuz (Hi-Res) bit.ly/35mManj Apple Music (Lossless) apple.co/3LmsWNU 🎧 Deezer (Hi-Fi) bit.ly/3vE45Af Tidal (Hi-Fi) bit.ly/3sGlBSJ 🎧 Amazon Music (Hi-Fi) amzn.to/34dbZFJ Spotify (mp3) spoti.fi/3MirfCt 🎧 UA-cam Music (mp4) bit.ly/48J5MxM 🎧 Naspter, Pandora, Anghami, Soundcloud, QQ音乐, LineMusic, AWA日本…
Without the shadow of a doubt a superior performance. The sound quality of New Mastering by CM/RR was always magnificent , but now it is marvelous ! Thanks !!
This was my favourite Op 57 for a long time and I didn't think it could be surpassed (the way I liked it played) until I heard Gilels, also live in Moscow, 14 January 1961. Interesting that Richter abandoned this work after a December 23 1960 live recording until 1991. If I am right about Richter's approach to what he played, if he thought he heard a recording he didn't think he could better then he never played it again. I suspect that Richter was in the audience for that Gilels performance barely a month after his last take in NY. It would be easy to check out as RIchter kept a diary about all the concerts he attended.
There are numerous pieces that Richter performed for a period, then didn't play for a significant period of time, then they reappeared in his repertoire years or decades later. Literally, dozens, in fact 100s, of works fall into this category. Much of the repertoire that he played from the late 80s to the end of his life (and that ended up in the Phillips Richter Box CD set) fell into this category. His concert-ography and discography give ample evidence about this. There are also a very small number of pieces about which Richter stated that he heard a performance of (earlier in his life) that he felt he couldn't couldn't surpass, and so he didn't have them in his repertoire. Works I'm aware of this being the case for include Beethoven's 4th and 5th Concerti (for which he stated that it was his teacher, Neuhaus' performances that caused this reaction). These are standard repertoire works that he never had in his active performing repertoire at any point from the 40s onwards. In other words, the 'event' that influenced him occurred during his younger, "formative" years. BUT, it's completely speculative - and kind of insulting to Richter - to say that he removed a piece from his repertoire (and one which he played widely and with the greatest success) - just due to hearing another pianist - Gilels - play it in a concert once. This is a completely un-supported, and, again, completely speculative, and is not something that I'm aware of is known to have occurred in the way you describe in other instances. You make idle speculations while not even being willing to due the actual research to try to back it up. Maybe YOU should be the one to check out Richter's diary entries ("easy to check out" as you say) before you make irresponsible claims??
It almost certainly the studio recording. and most certainly not one of the available live recordings from the same time period. The live recordings from that year (Carnegie Hall, Moscow, Leningrad - all on UA-cam) have acoustics VERY different from this present one. There are also occasional coughs, missed notes, and subtle differences of timing of individual notes/chords/pauses present in distinctive ways on each of the live recordings. A way to 'test' this is to listen to two of them simultaneously (or a part of them quickly back-to-back). In fact, just listen to the final flurry of descending arpeggios in the final c.10 measures of the piece to hear distinctive 'finger slips' in all 3 of those live recordings that are not present in the studio recording.
@@walfootrot7005 I'm not sure how the late Ates Tanin could offer an opinion on a recording posted on UA-cam on May 9, 2024. ;-p This current one is definitely NOT the Moscow recording of June 9, 1960. Just go listen to even a small part of that one, then compare it to this one. It's obvious that they aren't the same recording.
Album available // Beethoven: Piano Sonata No. 23 in F minor, Op. 57 "Appassionata" by Sviatoslav Richter
🎧 Qobuz (Hi-Res) bit.ly/3tdUd1m Tidal (Hi-Res) bit.ly/3tin9VY
🎧 Apple Music (Lossless) apple.co/3UtpjNJ Deezer (Hi-Fi) bit.ly/3GzAfRO
🎧 Amazon Music (Hi-Res) amzn.to/3NflbfW Spotify (mp3) spoti.fi/3GB64Ke
🎧 UA-cam Music (mp3) bit.ly/3NhTHq8
🎧 Napster, Pandora, Anghami, Soundcloud, QQ音乐, LineMusic, Awa 日本…
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Ludwig van Beethoven (1770-1827) Piano Sonata No. 23 in F minor, Op. 57 "Appassionata"
00:00 I. Allegro assai
10:46 II. Andante con moto
16:43 III. Allegro ma non troppo
Piano: Sviatoslav Richter
Recorded in 1960
New mastering in 2023 by A for CMRR
🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): bit.ly/3Mraw1r
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ): bit.ly/370zcMg
🔊 Follow us on Spotify: spoti.fi/3016eVr
APPASSIONATA. Sonata in F minor, Opus 57, by Beethoven, dedicated to Count Franz von Brunswick. The name "Appassionata" was not given by Beethoven himself; it was the publisher Cranz from Hamburg who named it so. This sonata was probably composed in 1806, but Ferdinand Ries asserts that the finale was already written in 1804: "We had lost our way during a walk, and it was eight o'clock in the evening when we returned to Döbling, where Beethoven was staying at the time. While walking, he had been murmuring and humming continuously, but without singing any specific notes. When I asked him what he was singing, he told me: 'A theme for the last movement of the sonata just came to mind!' When we arrived in his room, he rushed to the piano, without even taking off his hat. And, for over an hour, he worked on the new and magnificent finale of this sonata. Finally, he got up. He seemed surprised to see me still there and said, 'Today, I won't be able to give you a lesson, I have to continue my work.'"
It seems that, in reality, Beethoven worked on this sonata for a long time and it had only just been completed when he went to stay in Silesia, on the estate of Prince Lichnowsky. It was shortly after the Battle of Jena, and a number of French officers were staying at the castle. One day, at the table, one of these officers made the mistake of asking, with a friendly condescension, if Beethoven "also knew something about violin music." The great man became angry, and an unpleasant scene ensued. As the prince persisted in his attempts to get him to play for them, Beethoven left the estate in the middle of the night and walked in a melting snowstorm to Troppau, the nearest town, to find a room for the night. From there, he wrote a letter to the prince containing the often-quoted lines: "Your Highness, what you are, you became by chance and by your birth. What I am, I am by my own merit. There have always been and there will always be thousands of princes, but there is only one Beethoven!" Shortly after, the composer returned home to Vienna and entrusted the excellent pianist Marie Bigot with playing the sonata from the crumpled and half-torn manuscript.
It is said that Beethoven himself considered it the best of his sonatas. The sense of humor that so often reconciled him with life during its darkest hours does not appear in this work. It is only darkness, "Weltschmerz" (the pain of the world), untamed passion, and a will as hard as iron. Bernhard Marx wrote about this sonata: "This sonic tableau is, from beginning to end, as if wrapped in the black mantle of the night." Conversely, Sir Hubert Parry said: "Here, the human soul has posed grave questions to God and has received his answer." This would coincide with Beethoven's own words when asked for explanations: "Read Shakespeare's 'The Tempest.'" No one is yet certain what he meant by that. But, as "The Tempest" contains several hidden allusions to the occult sciences, it has been claimed that this was what he had in mind.
Allegro assai. From the very beginning of the first movement, the "powers of darkness" make their appearance, and although the subsidiary theme in A-flat major has a softer character, it is subordinate to the main theme to the point that it cannot assert itself independently. Never had a sonata begun in such a mysterious way, with a pianissimo arpeggio, in an equivocal tempo (it could be mistaken for a slow introduction). The discourse is punctuated by silences, the harmony questioning, before the melodic line explodes into chords of unprecedented brutality. To create a change of color, the second theme shifts to A-flat major. Nevertheless, it borrows its contours from the initial motif, maintaining a sense of unity. Beethoven exploits the full range of the keyboard, contrasts registers, and multiplies nuances. At the end of the movement, the coda sinks into the extreme bass, triple piano, as if exhausted by the struggle.
Andante con moto. The Andante with variations brings some respite. It is a variation movement distinguished by the very simplicity of its notation, modulation, and overall musical structure. In the spirit of a chorale, its melody is almost static (in the first two phrases, it uses only two notes): the theme owes its expressiveness to harmony and the movement of inner voices. Throughout the variations, the rhythmic writing gives a sense of acceleration through the use of increasingly shorter note values; progress is also made in terms of register, which reaches the high notes. When the theme is reprised at the end of the movement, its conclusion evades, replaced by a tense and fortissimo chord that announces the finale.
Allegro ma non troppo presto. This second Allegro reconnects with the tragic tone of the first movement. A rare feature in form, the exposition is not repeated, while Beethoven insists on the need to resume the development-recapitulation block. An accelerando leads to the Presto coda, whose frenzy remains intact until the last note. It is in the "wildly agitated" character of this movement, according to Riemann's expression, that one has sought the connection that this sonata could have with Shakespeare's "The Tempest." However, the storm in the Appassionata does not end in a peaceful idyll: it is through the force of his will that Beethoven emerges victorious.
This is certainly the greatest "Appassionata" in recording history. Sviatoslav Richter is here at the peak of his art, an art that can be described as "visionary".
Album available // Beethoven: Piano Sonatas Op. 109, 110, 111 by Sviatoslav Richter
🎧 Qobuz (Hi-Res) bit.ly/35mManj Apple Music (Lossless) apple.co/3LmsWNU
🎧 Deezer (Hi-Fi) bit.ly/3vE45Af Tidal (Hi-Fi) bit.ly/3sGlBSJ
🎧 Amazon Music (Hi-Fi) amzn.to/34dbZFJ Spotify (mp3) spoti.fi/3MirfCt
🎧 UA-cam Music (mp4) bit.ly/48J5MxM
🎧 Naspter, Pandora, Anghami, Soundcloud, QQ音乐, LineMusic, AWA日本…
Ludwig Van Beethoven PLAYLIST (reference recordings): ua-cam.com/video/WUYeYsLMLus/v-deo.html
I bought this performance on an RCA Gold Seal LP over 50 years ago, and I immediately knew I was in the presence of greatness, and that this recording would never be surpassed. And it never has, and never will be.
Dynamische und wunderschöne Interpretation dieser leidenschaftlichen doch perfekt komponierten Klaviersonate im veränderlichen Tempo mit kräftigem doch elegantem Anschlag und mit möglichst effektiver Dynamik. Der zweite Satz klingt besonders schön und echt beruhigend. Im Kontrast klingt der dritte Satz echt lebhaft und auch überzeugend. Wunderbar und atemberaubend zugleich!
Absolutely astounding!
The best ever studio recording of the appassionata, the remaster sound better than my cd
APPASSIONATA. Sonata in F minor, Opus 57, by Beethoven, dedicated to Count Franz von Brunswick. The name "Appassionata" was not given by Beethoven himself; it was the publisher Cranz from Hamburg who named it so. This sonata was probably composed in 1806, but Ferdinand Ries asserts that the finale was already written in 1804: "We had lost our way during a walk, and it was eight o'clock in the evening when we returned to Döbling, where Beethoven was staying at the time. While walking, he had been murmuring and humming continuously, but without singing any specific notes. When I asked him what he was singing, he told me: 'A theme for the last movement of the sonata just came to mind!' When we arrived in his room, he rushed to the piano, without even taking off his hat. And, for over an hour, he worked on the new and magnificent finale of this sonata. Finally, he got up. He seemed surprised to see me still there and said, 'Today, I won't be able to give you a lesson, I have to continue my work.'"
It seems that, in reality, Beethoven worked on this sonata for a long time and it had only just been completed when he went to stay in Silesia, on the estate of Prince Lichnowsky. It was shortly after the Battle of Jena, and a number of French officers were staying at the castle. One day, at the table, one of these officers made the mistake of asking, with a friendly condescension, if Beethoven "also knew something about violin music." The great man became angry, and an unpleasant scene ensued. As the prince persisted in his attempts to get him to play for them, Beethoven left the estate in the middle of the night and walked in a melting snowstorm to Troppau, the nearest town, to find a room for the night. From there, he wrote a letter to the prince containing the often-quoted lines: "Your Highness, what you are, you became by chance and by your birth. What I am, I am by my own merit. There have always been and there will always be thousands of princes, but there is only one Beethoven!" Shortly after, the composer returned home to Vienna and entrusted the excellent pianist Marie Bigot with playing the sonata from the crumpled and half-torn manuscript.
It is said that Beethoven himself considered it the best of his sonatas. The sense of humor that so often reconciled him with life during its darkest hours does not appear in this work. It is only darkness, "Weltschmerz" (the pain of the world), untamed passion, and a will as hard as iron. Bernhard Marx wrote about this sonata: "This sonic tableau is, from beginning to end, as if wrapped in the black mantle of the night." Conversely, Sir Hubert Parry said: "Here, the human soul has posed grave questions to God and has received his answer." This would coincide with Beethoven's own words when asked for explanations: "Read Shakespeare's 'The Tempest.'" No one is yet certain what he meant by that. But, as "The Tempest" contains several hidden allusions to the occult sciences, it has been claimed that this was what he had in mind.
Allegro assai. From the very beginning of the first movement, the "powers of darkness" make their appearance, and although the subsidiary theme in A-flat major has a softer character, it is subordinate to the main theme to the point that it cannot assert itself independently. Never had a sonata begun in such a mysterious way, with a pianissimo arpeggio, in an equivocal tempo (it could be mistaken for a slow introduction). The discourse is punctuated by silences, the harmony questioning, before the melodic line explodes into chords of unprecedented brutality. To create a change of color, the second theme shifts to A-flat major. Nevertheless, it borrows its contours from the initial motif, maintaining a sense of unity. Beethoven exploits the full range of the keyboard, contrasts registers, and multiplies nuances. At the end of the movement, the coda sinks into the extreme bass, triple piano, as if exhausted by the struggle.
Andante con moto. The Andante with variations brings some respite. It is a variation movement distinguished by the very simplicity of its notation, modulation, and overall musical structure. In the spirit of a chorale, its melody is almost static (in the first two phrases, it uses only two notes): the theme owes its expressiveness to harmony and the movement of inner voices. Throughout the variations, the rhythmic writing gives a sense of acceleration through the use of increasingly shorter note values; progress is also made in terms of register, which reaches the high notes. When the theme is reprised at the end of the movement, its conclusion evades, replaced by a tense and fortissimo chord that announces the finale.
Allegro ma non troppo presto. This second Allegro reconnects with the tragic tone of the first movement. A rare feature in form, the exposition is not repeated, while Beethoven insists on the need to resume the development-recapitulation block. An accelerando leads to the Presto coda, whose frenzy remains intact until the last note. It is in the "wildly agitated" character of this movement, according to Riemann's expression, that one has sought the connection that this sonata could have with Shakespeare's "The Tempest." However, the storm in the Appassionata does not end in a peaceful idyll: it is through the force of his will that Beethoven emerges victorious.
This is certainly the greatest "Appassionata" in recording history. Sviatoslav Richter is here at the peak of his art, an art that can be described as "visionary".
Album available // Beethoven: Piano Sonatas Op. 109, 110, 111 by Sviatoslav Richter
🎧 Qobuz (Hi-Res) bit.ly/35mManj Apple Music (Lossless) apple.co/3LmsWNU
🎧 Deezer (Hi-Fi) bit.ly/3vE45Af Tidal (Hi-Fi) bit.ly/3sGlBSJ
🎧 Amazon Music (Hi-Fi) amzn.to/34dbZFJ Spotify (mp3) spoti.fi/3MirfCt
🎧 UA-cam Music (mp4) bit.ly/48J5MxM
🎧 Naspter, Pandora, Anghami, Soundcloud, QQ音乐, LineMusic, AWA日本…
Absolute winner. Sitting here really enjoying it at work!
IMPRESSIONANTE...MERAVIGLIA DELLE MERAVIGLE...INEGUAGLIABILE..
BELLISSIMO.♡♡♡
Without the shadow of a doubt a superior performance. The sound quality of New Mastering by CM/RR was always magnificent , but now it is marvelous ! Thanks !!
Yet they can’t take out the hissing?
I do agree that it’s a superior performance.
The best - TY
Magnifique ! ❤️
excellent version
Sconvolgente e meravigliosa interpretazione
Excellent!
Beauty for the world thank you
23:00 best❤
I'm always nervous when I listen [and re-listen] to a Richter recording - live or studio. He's human, and the music is all the better for it.
L'une des 4 ou 5 meilleurs versions avec celles de Pollini, Serkin, Arrau, Kempff, Guilels,Brendel, Gulda et autres
❤️❤️❤️🇩🇪🇩🇪🇩🇪
This was my favourite Op 57 for a long time and I didn't think it could be surpassed (the way I liked it played) until I heard Gilels, also live in Moscow, 14 January 1961. Interesting that Richter abandoned this work after a December 23 1960 live recording until 1991. If I am right about Richter's approach to what he played, if he thought he heard a recording he didn't think he could better then he never played it again. I suspect that Richter was in the audience for that Gilels performance barely a month after his last take in NY. It would be easy to check out as RIchter kept a diary about all the concerts he attended.
There are numerous pieces that Richter performed for a period, then didn't play for a significant period of time, then they reappeared in his repertoire years or decades later. Literally, dozens, in fact 100s, of works fall into this category. Much of the repertoire that he played from the late 80s to the end of his life (and that ended up in the Phillips Richter Box CD set) fell into this category. His concert-ography and discography give ample evidence about this.
There are also a very small number of pieces about which Richter stated that he heard a performance of (earlier in his life) that he felt he couldn't couldn't surpass, and so he didn't have them in his repertoire. Works I'm aware of this being the case for include Beethoven's 4th and 5th Concerti (for which he stated that it was his teacher, Neuhaus' performances that caused this reaction). These are standard repertoire works that he never had in his active performing repertoire at any point from the 40s onwards. In other words, the 'event' that influenced him occurred during his younger, "formative" years.
BUT, it's completely speculative - and kind of insulting to Richter - to say that he removed a piece from his repertoire (and one which he played widely and with the greatest success) - just due to hearing another pianist - Gilels - play it in a concert once.
This is a completely un-supported, and, again, completely speculative, and is not something that I'm aware of is known to have occurred in the way you describe in other instances.
You make idle speculations while not even being willing to due the actual research to try to back it up. Maybe YOU should be the one to check out Richter's diary entries ("easy to check out" as you say) before you make irresponsible claims??
is this the rca studio version or the live one in moscow?
Yes.
@@ww0yrr -- Thanks, from Mexico, for clearing that up......
According to the late Ates Tanin who has made the most extensive discography of Richter's recordings this is live from Moscow, June 9, 1960.
It almost certainly the studio recording. and most certainly not one of the available live recordings from the same time period.
The live recordings from that year (Carnegie Hall, Moscow, Leningrad - all on UA-cam) have acoustics VERY different from this present one. There are also occasional coughs, missed notes, and subtle differences of timing of individual notes/chords/pauses present in distinctive ways on each of the live recordings.
A way to 'test' this is to listen to two of them simultaneously (or a part of them quickly back-to-back).
In fact, just listen to the final flurry of descending arpeggios in the final c.10 measures of the piece to hear distinctive 'finger slips' in all 3 of those live recordings that are not present in the studio recording.
@@walfootrot7005 I'm not sure how the late Ates Tanin could offer an opinion on a recording posted on UA-cam on May 9, 2024. ;-p
This current one is definitely NOT the Moscow recording of June 9, 1960. Just go listen to even a small part of that one, then compare it to this one. It's obvious that they aren't the same recording.
😂😂😂 Ships Sata
Not really
Excellent!