In March of 1970 my piano teacher, dear Greta Pollack, herself a pupil of Bartok, traveled with me to Symphony Hall in Newark, New Jersey to hear Richter play this same (partial) Op. 12. I remember every astounding note. Thanks so much for sharing.
Richter was one of the world's best, if not the best Schumann Interpreter. His approach to the composer was as it should be: Grandeur, power, virtuosity on the one hand, introverted lyrizism, rich sound and wonderful tone for Schumann on the other hand. He was Florestan and Eusebius in personal union. A magnificent artist played Schumann second to none.
This was the first ever CD recording of Richters that I bought from a music shop to learn more about Schumann's music. I had never heard of him Richter before that. I played it over and over again, being transfixed by the beauty of tone, the dynamic range, the superb technical articulation and the rare interpretive ability to create another world througjh music. 40 years later I still marvel at the prodigous repetoire of this genius of the keyboard who, in my opinion, has no equals. He is a one-off, the likes of which we will never see again.
Echt fantastische live interpretation dieses romantischen Meisterwerks. Der feine und zugleich dynamische Schlag von Richter ist ewig unvergleichlich. Genialer Pianist!
The 'thing' about Richter is that no matter what he plays one ALWAYS learns. One doesn't even have to agree with him, but one still learns. Remarkable...and as always thanks to incontrario motu, who also makes us learn.
Yes, this is perfecty poised, and technically superb. Poetic, too, although I think Moiseiwitsch is the most masterful poet in recordings of this work. Too bad that Cortot only recorded the first section, "Des Abends." .
Richter left them out. He was known for choosing to play only whichever parts of a work he felt were suitable. I understand he once said that the only work he would always play in its entirety was the Well-Tempered Clavier.
Apparently Richter disliked the two pieces and never included them as part of the set. Once he remarked that maybe he could play then as encores, though he never did.
In March of 1970 my piano teacher, dear Greta Pollack, herself a pupil of Bartok, traveled with me to Symphony Hall in Newark, New Jersey to hear Richter play this same (partial) Op. 12. I remember every astounding note. Thanks so much for sharing.
Richter was one of the world's best, if not the best
Schumann Interpreter. His approach to the composer
was as it should be: Grandeur, power, virtuosity on the
one hand, introverted lyrizism, rich sound and wonderful
tone for Schumann on the other hand. He was Florestan
and Eusebius in personal union.
A magnificent artist played Schumann second to none.
Idil Biret's 1959 LP recording of this piece is the best one in my opinion (Schumann/Brahms LP, 1959, Pretoria, France).
With a withdrawn innigkeit and sensitivity second to none.
This was the first ever CD recording of Richters that I bought from a music shop to learn more about Schumann's music. I had never heard of him Richter before that. I played it over and over again, being transfixed by the beauty of tone, the dynamic range, the superb technical articulation and the rare interpretive ability to create another world througjh music. 40 years later I still marvel at the prodigous repetoire of this genius of the keyboard who, in my opinion, has no equals. He is a one-off, the likes of which we will never see again.
Echt fantastische live interpretation dieses romantischen Meisterwerks. Der feine und zugleich dynamische Schlag von Richter ist ewig unvergleichlich. Genialer Pianist!
The 'thing' about Richter is that no matter what he plays one ALWAYS learns. One doesn't even have to agree with him, but one still learns. Remarkable...and as always thanks to incontrario motu, who also makes us learn.
Wie stark ist nicht dein Zauberton, Herren Schumann/Richter!
A masterful, controlled interpretation. Just the right hint of rubato in places.
no one had or has such deep, rich tone as Richter!
Thank you :)
Здорово! Единственное, мне бы хотелось в Порыве больше порыва... Немного сдержанно получилось, но на других записях мне всё очень нравится!
Gorgeous
Yes, this is perfecty poised, and technically superb. Poetic, too, although I think Moiseiwitsch is the most masterful poet in recordings of this work. Too bad that Cortot only recorded the first section, "Des Abends." .
Richter et Schumann... bien sûr... mais Moisewitsch est simplement fabuleux dans cette pièce.
Grande Richter.!
懐かしい、リヒテルのシューマンはいいですね
THANKS THANKS
siempre me he preguntado, por que no interpreta Grillen?
pourquoi n'a t'il pas joué Grillen ( chimeres) qui constitue la fin du 1er cahier???
This is better than Martha A. Forgot how to spell her last name.
Martha Argerich
LMAO YOU COLD
Totatlly agree, much better!
@@luizfernandg she's overrated
What happened to "Grillen" and "Fabel"?
Richter left them out. He was known for choosing to play only whichever parts of a work he felt were suitable. I understand he once said that the only work he would always play in its entirety was the Well-Tempered Clavier.
Where’s grillen and fable?
Richter often only played some of the movements of works like these in concerts.
Apparently Richter disliked the two pieces and never included them as part of the set. Once he remarked that maybe he could play then as encores, though he never did.
Traumes Wirren sounds like a Moszkowski etude!
Grillen?????? u.u