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  Исполнитель(и) :
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  Наименование CD :
   Richter The Master, Vol. 9. Bach & Chopin

Год издания : 2007

Компания звукозаписи : Decca

Время звучания : 1:59:08

К-во CD : 2

Код CD : 475 8634

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Classics (Guru)      

Vol.1, Vol.2, Vol.3, Vol.4, Vol.5, Vol.6, Vol.7, Vol.8, Vol.9, Vol.10

About French Overture BWV 831 on 'bach-cantatas.com'

About Italian Concerto BWV 971 on 'bach-cantatas.com'

About Duets BWV 802-805 on 'bach-cantatas.com'

========= from the cover ==========


Sviatoslav Richter Astride Two Artistic Worlds

"Uncle was one of those Russian Jews (by origin) who have the classic Russian face, short-nosed, blue-eyed, with light thinning hair. If his hands had been bigger he might have been a ringer for Sviatoslav Richter, the pianist. The weight of those hands, when Richter advances on the piano, drags the arms from the sleeves of his tailcoat so that they hang well below the knees ..."

In the opening chapter of his 1987 novel, More Die of Heartbreak, the Nobel Prize-winning American writer Saul Bellow helps the reader to imagine his protagonist's physiognomy by suggesting his almost total likeness to Sviatoslav Richter. It is an odd comparison since, from so many possible anthropological models, the one proposed here would probably be as unfamiliar to the general reading public (and, I suspect, to the vast majority of the judges for the 1976 Nobel Prize for literature) as it will be instantly recognisable to anyone who has chosen to acquire these fine recordings by the great Russian pianist.

So Bellow (born, like Richter, in 1915, though he outlived him by eight years, dying in 2005) must have been one of those "avid Richterians" who, on the occasion of the Russian musician's infrequent American tours, assembled stoically in the nocturnal queues stretching in front of the Carnegie Hall box office, armed with thermos flasks and blankets, determined at whatever cost not to miss an opportunity, particularly rare for those living in the New World, of attending a Richter recital. The American writer must thus have wished to pay tribute to his favourite, giving him a role as co-protagonist in his novel despite the fact that, as already observed, Richter's physical type is not only unfamiliar to the multitude but even to those who, like many of Bellow's readers, have cultural interests. In fact, Richter was extremely shy and disliked being on show. Who knows if he was aware of having been selected by such a famous writer to represent an entire people. I doubt whether he would have been happy about it. The Richter who did all he could to hide from his fans, who continually shunned the noisy press and television lights, who performed out of the limelight and eventually almost exclusively in small theatres in provincial centres, in old churches or in timeworn, hidden-away places; the Richter who for many years remained aloof, and whose absence from the pit-stops of the grand international concert circuit was of his own volition; the Richter who hated cover photos, and who feared journalists and critics as if they were natural disasters - that Richter was far from supposing himself to be an anthropological model, to say nothing of the fact that his proverbial humility would have stopped him from considering himself a model in the artistic sphere either. There were nevertheless those who continued to hold that he was a divo, a major public figure, a showman, a giant of musical life, not merely as a musician, but as a personality towering above worldly things on the model of certain great actors or television stars.

Once, just before giving a recital in Venice, Richter asked the theatre management to make a public announcement to the effect that the reference to him in the programme as a "Ukrainian pianist" was incorrect and should be changed to "Soviet citizen of German nationality". A tortuous word-play; but what charm, what humility in that definition! Two cultures, Russian and German, fused miraculously in one person: two languages, two different ways of being and thinking. Similarly, those two surprisingly huge hands, which could act either as one or independently, as if they belonged to two different men. A musician of indescribable complexity, Richter was the direct and unrepeatable result of the meeting of two worlds vital to the history of human culture, and also - I would suggest - so proudly distant, one from the other. Thus, if the pianist's musical Stimmung owed a good deal of its nature to the spirit of German Romanticism, deriving specifically from Goethe and Schumann (notice how Richter resembled the legendary Gieseking both physically and in terms of his musical palette), his soul and the inner world of his feelings were all turned to the earthy culture of great Russia - the agrarian and poetic Russia of Tolstoy, the mystical, unsettling Russia of Gogol and Dostoyevsky, the holy and immortal Russia of icons and metropolitans.

You only had to look at his jacket collar. Carefully pinned to it was a small, shiny medal. It was not a recent decoration, nor one of the many well-merited awards with which his country had honoured him. Instead it was a small effigy in imitation gold, bought for a few kopeks from a stall in the Arbat, on which shone the figure of the patron saint of that great land, and an inscription in the ancient Cyrillic of Muscovite monks: "In commemoration of 1,000 years of Christianity in our Russia".

But Richter was not a man of religion: he was a musician. A wandering musician. Perhaps the last of the free musicians, a man who lived for art, for music, ceaselessly searching for genuine expression. Richter was a Wanderer, perennially on the move, a scholar never sated by knowledge, never content with new spiritual advertures and continual intellectual discoveries.

How much one could say about him! For example, about his spiritual wealth, the incredible charm of his conversation, his fanciful way of expressing himself with a voice and gestures evoking landscapes, faces, profound and sympathetic ideas in the air. I said that Richter lived on the move, without a real base. Every day a strange city, a new landscape, a different background gave shape to his wandering life. In this continual vagabondage, the maestro enjoyed one single privilege: a piano that a well-known Japanese firm had placed at his disposal and that followed him everywhere. But do not imagine that this was some special instrument, as with the personal pianos of other famous pianists. It had no special mechanism, like those that allow the keys to be depressed at the merest touch, nor did it have ready-made sounds and timbres like a grand-piano version of a Stradivarius. It was a completely normal production-line piano, an instrument of neutral sonority, perfect in the immaculate whiteness of its sound: like a blank canvas on which Sviatoslav Richter (pianist but also painter, don't forget) could recreate, with a spectacular variety of brush strokes, his whole vividly coloured, fantastic world: violent hues, hammered out, bizarre lines worthy of Picasso at his best, delicate and iridescent pastels like those of his youthful paintings depicting the streets of Moscow or pale birch woods bent by the winter wind.

Just as the man Richter was simple and modest, so was his music. The sounds of his piano still reach out with an everyday nobility, and in his recordings we can invariably discover the charm of sincerity, the grandeur of permanent values. Whenever one hears Richter, and in whichever branch of his vast repertoire, one discovers truth and simplicity. Note his tempos, always surprising and attractive. Let yourself be captured by his dreams, by the wonderful sensibility of his spirit.

If ever you went to one of Richter's concerts, it was always worth trying to sit in the first few rows in the hall. Not only could you see him close to, observing his expression and admiring the mysterious play of his fingers, but you could also notice his curiosity, his interest in you, the audience. And at the end of the concert, when Richter stepped forward to greet and thank you, he would ask not merely for your applause, but would want to know whether the concert really pleased you. He would search through the stalls for the looks on your faces and would immediately discover from them the answer that you would wish him to have. He would understand these looks of gratitude and finally, momentarily relaxing his severe expression, he would give you a broad and disarming smile, letting you know that he, like you, was happy.

- Umberto Masini (translation George Hall)

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Наименование трека



   1 01 1. Allegro         0:04:02 Johann Sebastian Bach - Italian Concerto In F, BWV 971
   1 02 2. Andante         0:05:08 -"-
   1 03 3. Presto         0:04:21 -"-
   1 04 1. Ouverture         0:15:27 Johann Sebastian Bach - French Overture In B Minor, BWV 831
   1 05 2. Courante         0:02:16 -"-
   1 06 3. Gavotte I - II         0:03:31 -"-
   1 07 4. Passepied I - II         0:03:22 -"-
   1 08 5. Sarabande         0:04:12 -"-
   1 09 6. Bourree I - II         0:02:52 -"-
   1 10 7. Gigue         0:02:13 -"-
   1 11 8. Echo         0:03:58 -"-
   1 12 Duetto I In E Minor, BWV 802         0:02:41 -"-
   1 13 Duetto II In F Major, BWV 803         0:03:06 -"-
   1 14 Duetto III In G Major, BWV 804         0:02:22 -"-
   1 15 Duetto IV In A Minor, BWV 805         0:02:40 -"-
   2 01 No. 1 In C Major - Allegro         0:02:15 Fryderyk Chopin - Twelve Etudes, Op. 10
   2 02 No. 2 In A Minor - Allegro         0:01:30 -"-
   2 03 No. 3 In E Major - Lento, Ma Non Troppo         0:04:08 -"-
   2 04 No. 4 In C Sharp Minor - Presto         0:02:08 -"-
   2 05 No. 6 In E Flat Minor - Andante         0:03:28 -"-
   2 06 No. 10 In A Flat Major -. Vivace Assai         0:02:13 -"-
   2 07 No. 11 In E Flat Major - Allegretto         0:01:45 -"-
   2 08 No. 12 In C Minor - Allegro Con Fuoco         0:02:50 -"-
   2 09 No. 5 In E Minor - Vivace         0:03:32 Fryderyk Chopin - Twelve Etudes, Op. 25
   2 10 No. 6 In G Sharp Minor - Allegro         0:01:54 -"-
   2 11 No. 8 In D Flat Major - Vivace         0:01:14 -"-
   2 12 No. 11 In A Minor - Lento-Allegro Con Brio         0:04:12 -"-
   2 13 No. 12 In C Minor - Molto Allegro, Con Fuoco         0:02:48 -"-
   2 14 No. 7 In C Sharp Minor - Lento         0:05:51 -"-
   2 15 Polonaise In C Sharp Minor, Op. 26 No. 1 Allegro Appassionato         0:09:33 Fryderyk Chopin
   2 16 Polonaise In C Minor, Op. 40 No. 2 Allegro Maestoso         0:07:36 -"-


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