Richter Prokofiev

Sviatoslov Richter was a friend of the composer, and he played all of this music in Prokofiev's presence. His performances have since acquired almost cult status among pianists–a reputation they richly deserve. The Fifth Piano Concerto is a pithy, technically difficult work in five short movements, which Richter plays as though he had composed them himself. The Eighth Sonata, by contrast, was composed during the Second World War, and the contrast between simple lyricism and horrifying violence leaves no doubt whatsoever as to what the composer was attempting to describe. These mid-price reissues sound better than ever, and artistically speaking, they are priceless.

Sony Classcial celebrates the art of Sviatoslav Richter (1995-1997) – one of the 20th century’s greatest pianists – with the first-ever release of his complete Columbia Masterworks and RCA Victor live and studio recordings in an 18 CD original jacket edition, underneath Richter’s legendary five October 1960 Carnegie Hall recitals.

As far as discs of the piano sonatas of Prokofiev go, this one with Sviatoslav Richter playing the Second and Sixth in Prague in 1965 and the Ninth in 1956 is about as close to definitive as anything can ever get in this world. Richter's strength and control, his passionate intensity, and his complete command of every aspect of technique and interpretation is brought to bear on Prokofiev's music, music closely identified with Richter and in one case composed by Prokofiev for Richter. Although Richter grew up playing Prokofiev's Second and Sixth sonatas, Prokofiev dedicated his Ninth and final sonata to Richter and Richter's interpretation is the aural incarnation of the music.

[These recordings, dating from 1959 and 1960, have been staple entries in the classical catalogues since they were first issued. This is despite well chronicled unusual tempi in the Rachmaninov and distinctly wiry string tome especially in the Prokofiev. This latter partly to do with age but more to do with the players pushed to their technical limits.[/quote]

From the notes: "From his public appearances, he made his mark as a passionately probing musician with a miraculous touch who communicated an unequaled intensity to his listeners. He often presented ignored or forgotten works; he undertook a "Scriabin revival," championed the more neglected works of Schumann, and disclosed unsuspected depths in Schubert, early Beethoven, and Haydn Sonatas. An especially dedicated of Prokofiev, he gave the first concert performance of the Piano Sonata No. 7, and Prokofiev dedicated his Sonata No. 9 to Richter. A Richter recital, whether of familiar or neglected works, always left the listener with a transformed and deepend view of the works heard" Notes by S.W. Bennett

From the irresitably forceful opening bars of the English Suite's prelude to the throbbing repeated octaves of the D minor concerto, Richter shows why many of Bach's works are ideally suited to the piano. The Bach concerto is often regarded as a student piece, or relegated to refined performances on the harpsichord. Not here – the bookend movements are as maniacal, pulsing and driving as the best of John Coltrane or Prokofiev. The CD is worth it just for those movements, but Richter's treatment of the English Suite is equally enlightening, especially the Prelude and Gavotte.

In 1950 Prague was the destination of the first-ever foreign trip of the then 35-year-old Russian genius pianist Sviatoslav Richter. He would subsequently visit the city on several more occasions. The recordings on this CD were made at the Rudolfinum within two weeks at the end of May and the beginning of June 1954. Richter is accompanied by the two finest Czech orchestras, conducted by two true legends – Václav Talich (nearing the end of his career) and Karel Ancerl (at the beginning of his tenure in the post of principal conductor of the Czech Philharmonic Orchestra).

From the notes: "This volume includes two major Piano Sonatas by Sergei Prokofiev, a composer Richter knew well. Richter's only performance as conductor was in music of Prokofiev, the premiere of his Sinfonia
concertante for cello and orchestra. And although, as with all composers, Richter played only the music of Prokofiev he felt closest to, there was a great deal of this music, including the First and Fifth Piano Concertos and the Second, Fourth and Sixth through Ninth Piano Sonatas. Prokofiev gave the first perfromane of the Sixth Sonata on a radio broadcast, but Richter gave the public premiere of this Sonata, and also of the Ninth, which was dedicated to him."