Schumann: Piano Concerto / Sviatoslav Richter

Editorial Reviews
Amazon.com essential recording
If you want to judge a pianist's versatility, listen to his or her recording of the Schumann Piano Concerto. It requires virtually everything a pianist should have to offer: poetry, virtuosity, expansive expression alternating with poised restraint. What a glorious test piece this is. Richter, who was famous for his Schumann playing, passes every test here. His meltingly beautiful delivery of Schumann's melodies touches the heart, and his execution of the most difficult passages is so smooth and effortless that it never calls a bit of attention to itself. In this piece and the Introduction and Allegro, the excellent orchestra also covers itself with glory. The solo pieces are no less wonderful. The way Richter plays the difficult Toccata is almost scary in its combination of power and velocity. The Forest Scenes is a slightly older recording (1956) than the others (1958), but it still sounds lovely. Catch Richter's whirlwind playing of "Traumes-Wirren" and you'll understand right away why other pianists had such respect for his technique. Listen to his "Prophet Bird" and he'll touch your heart. --Leslie Gerber

Tracks:

Konzert Fur Klavier Und Orchestera - Op. 54: 1. Allegro Affettuoso
Konzert Fur Klavier Und Orchestera - Op. 54: 2. Intermezzo Andantino - Attacca
Konzert Fur Klavier Und Orchestera - Op. 54: 3. Allegro Vivace
Introduction Und Allegro Appassionato G - Dur Op. 92
Novellette F - Dur Op. 21 No. 1
Toccata C - Dur Op. 7
Waldszenen Op. 82: Entry
Waldszenen Op. 82: Hunters On The Lookout
Waldszenen Op. 82: Lonely Flowers
Waldszenen Op. 82: Place Of Evil Fame
Waldszenen Op. 82: Friendly Landscape
Waldszenen Op. 82: Shelter
Waldszenen Op. 82: Bird As Prophet
Waldszenen Op. 82: Hunting Song
Waldszenen Op. 82: Farewell

Amazon.com essential recording

If you want to judge a pianist's versatility, listen to his or her recording of the Schumann Piano Concerto. It requires virtually everything a pianist should have to offer: poetry, virtuosity, expansive expression alternating with poised restraint. What a glorious test piece this is. Richter, who was famous for his Schumann playing, passes every test here. His meltingly beautiful delivery of Schumann's melodies touches the heart, and his execution of the most difficult passages is so smooth and effortless that it never calls a bit of attention to itself. In this piece and the Introduction and Allegro, the excellent orchestra also covers itself with glory. The solo pieces are no less wonderful. The way Richter plays the difficult Toccata is almost scary in its combination of power and velocity. The Forest Scenes is a slightly older recording (1956) than the others (1958), but it still sounds lovely. Catch Richter's whirlwind playing of "Traumes-Wirren" and you'll understand right away why other pianists had such respect for his technique. Listen to his "Prophet Bird" and he'll touch your heart. --Leslie Gerber

Customer Reviews:

Robert Schumann piano Sviatoslav Richter.......2007-03-08

Dexterity of Richter is world class . As a classical pianist I was disappointed with the frequency response of the recording. Although probably digitized still a lot of the frequencies were missing. If I had to choose again I would select a relatively recent performance .

Richter plays Schumann.......2005-12-05

All of us who admire the supreme interpretative status of Sviatoslav Richter know about his variable temperament. That personal feature permeated every piece he played in his fruitful career. The Piano Concerto has been played for so many pianists in the most different approach. It is a piece of irresistible romantic ethos, who can deny it? .

This version remained indeed, as one the most prominent in the market for years; but there were many more: Lipatti, Michelangeli, Rubinstein, Cortot ,Van Cliburn, Yves Nat among many others, we should wait until the most elegant, expressive, eloquent and committed performance ever recorded : Ivan Moravec with the Czech Philharmonic conducted by Vaclav Neumann (a very hard to find CD).

That fact established more than just a line; a true frontier, a reference pattern, very hard to surpass until this date. Richter 's performance is something inexpressive, he could make a major and best performance. But despite of it, remains among the ten best available and trustable versions.

The rest of the CD is absolutely perfect .I don't know about any other version of Introduction and Allegro capable to match with it. His Novelette is very expressive and sensitive with the only exception of the monumental version of Wilhelm Kempff and one register of Emil Gilels.

The Toccata is simply memorable; there are , however two very remarkable version: Martha Argerich and Vladimir Horowitz. The Waldzsenen Op. 82 is a a very genuine jewel.

Go for this, keeping in mind there are better options respect the piano Concerto.

& I thought Tchaikovsky's Piano Concerto #1 was my favorite!.......2004-11-04

That is...until I heard the first few notes of this Schumann concerto. I was literally in tears the first 50 times I listened to the 1st movement of this concerto. Personally I'm not a big fan of Schumann's work, but this is the absolute best piano concerto, and it is a "must buy" for any piano lover. This recording also substantiated my love for Richter's playing.

schumann's chamber concerto.......2003-07-17

as the other reviews have said, this is a remarkable performance. the ensemble playing is crisp without being rigid, and the players are recorded with the clarity of a chamber orchestra: all the instrumental soloists are distinguished and the balance with the soloist is perfect. richter creates a subtle range of moods within the overall perspective of each movement -- hard to do in a concerto role, as the orchestra must contribute to the effect -- though his dynamic contrasts are not as extreme as typical. the cumulative effect is apollonian, magisterial, and timeless. the solo pieces are marvelous technical and interpretive displays as well.

Best of the best.......2002-09-20

This recording of Schumann's concerto is simply the best: the orchestra is very good (despite reviews to the contrary), the soloist-orchestra interplay is superb, and Richter's playing is divine.

If you listen to this recording repeatedly, and then compare it with other good or very good recordings (Lipatti, Serkin, Moravec, Staier), you'll notice the differences: you will be aware how these latter pianists search for the correct interpretation of certain passages, and often they succeed. You'll be also aware, however, that Richter does not interpret. He simply plays it the way Schumann must have intended the work, i.e. the way it has to be played. It's not a matter of technique - in this respect, many(but not too many) pianists are as good as Richter. It's just like Schumann's spirit has penetrated Richter's nervous system and guides his fingers.

When you're not listening to the concerto for a long time, and then try to "play" it in your head, you will reckognize that it "sounds" like the Richter-Rowicki recording. And you will notice flaws in all other recordings.

Tracks:

Papillons, Op. 2
Introduction And Allegro Appassionato For Piano And Orchestra, Op. 92
I Molto Moderato
II Andante Sostenuto
III Scherzo. Allegro Vivace - Trio
IV Allegro Ma Non Troppo

Customer Reviews:

Richter At His Best.......2007-01-25

These recordings come from the years 1963 - 1965 when Sviatoslav Richter, as Bryce Morrison said in Gramophone, bestrode the pianistic world like a colossus. The records on this disc support these claims. First, is Robert Schumann's Papillons that is played with great sensitivity and beautiful phrasing. Following this is another work of Schumann the Introduction and Allegro appassionato with Benjamin Britten conducting the English Chamber Orchestra. From the performance one can easily believe that conductor and soloist had a wonderful time; they have a magnificent partnership in this performance. The music of Franz Schubert was very important to Richter and he championed him in the Soviet Union. The B flat Major sonata that is recorded here was his favorite and his loving attention is evident. Here Richter stretches the first movements (clocking in at just over 25 minutes) Molto moderato about as slowly as it can be but he knew this sonata so well his performance remains graceful and beautiful. The monumental first movement is followed by an elegant and reflective Andante, a jubilant Scherzo and a dynamic finale.

The notes by Jeremy Siepmann are outstanding. This certainly is a disc that any admirer of Sviatoslav Richter will want to have.

Grieg: Piano Concerto; Schumann: Piano Concerto

Average customer rating:

Scrappy orchestra (ditto sound) but Richter is magisterial
Richter Revisits Schumann

Grieg: Piano Concerto; Schumann: Piano Concerto

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
Similar Items:

Ravel/Rachmaninov: Piano Concertos
Dvorak: Piano Concerto; Schubert: 'Wanderer' Fantasy / Richter, Kleiber
Schumann: Piano Concerto / Sviatoslav Richter
Dinu Lipatti plays Chopin, Enescu, Ravel, Liszt & Brahms
Liszt: The Two Piano Concertos; The Piano Sonata

ASIN: B00008RGZK
Release Date: 2003-04-08

Tracks:

I. Allegro Molto Moderato
II. Adagio
III. Allegro Moderato Molto E Marcato
I. Allegro Affettuoso - Andante Espressivo - Allegro Molto
II. Intermezzo (Andantino Grazioso)
III. Allegro Vivace
Papillons, Op. 2

Customer Reviews:

Scrappy orchestra (ditto sound) but Richter is magisterial.......2006-02-25

By 1974 Sviatoslav Richter was about to turn 60 and entering his eccentric late phase, in which he made fewer studio recordings, appeared randomly at small towns anywhere from Siberia to the south of France, generally without advance announcment, to play off the cuff, and fell into the habit of playing in dark halls with a reading lamp beside the keybooard to light up the score he insisted on using.

But this 1974 pairing of the Grieg and Schumann piano concertos reveals that the titan wasn't sleeping. In every bar Richter is so oriignal that instead of being a warhorse among warhorses, you feel you've never heard the Grieg concerto before. His approach is plain and rather slow, with no attempt at virtuoso flash. The magic is all in the phrasing, where Richter was peerless, and of course in his lion-like command of tone.

Von Matacic and the Monte Carlo orchestra follow Richter's lead; their part is fairly scrapy, and even in this remastering the EMI sonics are quasi-Soviet, showing a clangy, unpleasant edge in loud passages. Richter is the whole show (unlike the superb pairing of Fleisher and Szell in these concertos), making it hard for me to hear anyone else's Grieg A minor.

Richter competes with his own classic DG recording of the Schuman concerto with Rowicki from 1959, but since he was probably the greatest Schumann pianist of the century, there's no reason to compare the two, only to apreciate both. The timings are nearly identical in all three movements, the orchestras and sound are less than ideal, yet the two conductors are sympathetic. The filler on this generous (73 min.) CD is the same 1962 Papillons recorded live in Italy that EMI has reissued many times. Who cares--it's great.

Richter Revisits Schumann.......2005-01-21

Pianist Sviatoslav Richter was one of the world's greatest interpreters of Schumann, and his 1958 Deutsche Grammophon recording of the Piano Concerto with Witold Rowicki and the Warsaw National Philharmonic Orchestra (currently available on CD in the "DG Originals" series) is most people's first choice recommendation, mine included. This CD in EMI's "Great Recordings of the Century" series offers Richter's 1974 remake with conductor Lovro von Matacic and Monte Carlo National Opera Orchestra. It is one of the very best performances available but it would be a lot to ask of any performer to outshine the initial greatness captured on the DG disc. Still, this title is very much worth purchasing, for Richter's Grieg is magical as well and it is a delight to once again hear Matacic in the EMI fold, who after numerous recordings for Walter Legge in the late 1950s and early 60s, seemed to disappear, undeservedly, from international prominence. In fact, for anyone looking for a Grieg/Schumann coupling, I would recommend this title over the Sony Essential Classics disc (where Entremont gives a good Grieg, paired with a brilliant performance by Serkin in the Schumann -- see my review) and the Radu Lupu on Decca Legends. The only coupling I personally prefer to this title is the recent Leon Fleisher/George Szell reissue in Sony's retooled "Great Performances" series, but alas those CDs are being sold exclusively through Tower. So in all, enjoy Richter on a great, but not the greatest, Schumann Piano Concerto of the century.

Sviatoslav Richter Concert Performances And Broadcasts, 1958-1976

Average customer rating:

A thousand carats album!

Sviatoslav Richter Concert Performances And Broadcasts, 1958-1976

Manufacturer: Music & Arts Program
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B000006KG3
Release Date: 1993-11-01

Customer Reviews:

A thousand carats album!.......2006-07-31

This fabulous set gives us a fabulous and complete selection from Richter's oeuvre that spans the years 1958-1976; it includes a kaleidoscopic variety of composers, a wide range of musical styles. The famed pianist Glenn Gould once affirmed : "There are musicians who try to bypass the whole question of the performing mechanism, to create the illusion, at any rate, of a direct link between themselves and a particular musical score, helping therefore the listener to achieve a sensation of involvement, not with the performance per se, but rather, with the music itself." And that is absolutely valid in the case of Richer.

For many Beethoven purists, Richer may result quite propulsive and even unaware. But that is just an illusion. It's a question of temperament. Richter uses to explore directly without reflexive pauses the soul of Beethoven. In fact, you may feel Richter plays as a huge mirror that reflects the multiple facets of any composer as a whole. In this superb compilation Beethoven occupies two and a quarter CD' s . His Variations & Fugue for piano Op. 35 are even much more emotive and volcanic respect the famous performance given in Carnegie Hall of 1965. (I just have this recording and have compared them one each other.). The Sonata Op. 10 is extraordinary. The Sonata Op. 4 is an excellent performance that denotes the multiplicity of vision (listen to Benedetti Michelangeli and Schnabel, for instance). The Sonata 32 is memorable although it's far to reach the unbeatable version of Paul Badura Skoda ` s version of 1973.

Believe or not the impressive performance of Richter around Pictures at exhibition is not so far respect to the well known and best acclaimed version of Sofia. You may realize this recital in Budapest was made just a week after Sofia' s performance and the most notable feature is how different is. If it's true the overall texture is visibly lighter and less dark respect Sophie, in certain passages I find it wildest, aggressive and even volcanic. The Catacombs and the Great Gate of Kiev are to my mind, much reposed analytical and colder but better performed. In my case, I have another additional Pictures of Richter and I use to compare between themselves.

Tchaikovsky pieces are quite sensitive and beautifully phrased. Scriabin' s Ninth Sonata has always been a personal trademark of this formidable pianist, although I rather his mesmerizing Warsaw live version of 1972. Prokoviev' s Fourth Sonata has constituted for Richter another treasured battle horse in most of his recitals. He possesses that required intensity, black humor and bitter cynicism that nestles along the score, because of the fact nobody like him knew about the nature of the monster and the oppressive atmosphere in those years. In sum, this is a very remarkable musical document for treasure and enjoy it over and over.

Highly recommended for those Richter' s hard fans and even you don' t.

Average customer rating:

for fanatics!!!
Dont hesitate....it's worth every dollar
Many definitive recordings here
Essential Music
A Treasure Trove of 'Live' Richter Performances

Sviatoslav Richter à Prague

Manufacturer: Praga
ProductGroup: Music
Binding: Audio CD

Polonaises | Ballets & Dances | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Rondos | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Imports | Stores | Music
ASIN: B00005REQ0
Release Date: 2002-02-12

Tracks:

Beethoven: Piano Sonata No. 3 in C major, Op. 2 No. 3: Allegro con brio
Beethoven: Piano Sonata No. 3 in C major, Op. 2 No. 3: Adagio
Beethoven: Piano Sonata No. 3 in C major, Op. 2 No. 3: Scherzo-Allegro
Beethoven: Piano Sonata No. 3 in C major, Op. 2 No. 3: Allegro assai
Beethoven: Piano Sonata No. 7 in D major, Op. 10 No. 3: Presto
Beethoven: Piano Sonata No. 7 in D major, Op. 10 No. 3: Largo e mesto
Beethoven: Piano Sonata No. 7 in D major, Op. 10 No. 3: Minuetto. Allegro
Beethoven: Piano Sonata No. 7 in D major, Op. 10 No. 3: Rondo. Allegro
Beethoven: Piano Sonata No. 12 in A flat major, Op. 26: Andante con varizioni
Beethoven: Piano Sonata No. 12 in A flat major, Op. 26: Scherzo. Allegro molto
Beethoven: Piano Sonata No. 12 in A flat major, Op. 26: Marcia funebre sulla morte d'un Eroe
Beethoven: Piano Sonata No. 12 in A flat major, Op. 26: Allegro

Tracks:

Beethoven: Piano Sonata No. 17 in D minor, Op. 31 No. 2: Largo-Allegro
Beethoven: Piano Sonata No. 17 in D minor, Op. 31 No. 2: Adagio
Beethoven: Piano Sonata No. 17 in D minor, Op. 31 No. 2: Allegretto
Beethoven: Piano Sonata No. 18 in E flat major, Op. 31 No. 3: Allegro
Beethoven: Piano Sonata No. 18 in E flat major, Op. 31 No. 3: Scherzo-Allegro vivace
Beethoven: Piano Sonata No. 18 in E flat major, Op. 31 No. 3: Minuetto. Moderato e grazioso
Beethoven: Piano Sonata No. 18 in E flat major, Op. 31 No. 3: Presto con fuoco
Beethoven: Piano Sonata No. 23 in F minor, Op. 57: Allegro assai
Beethoven: Piano Sonata No. 23 in F minor, Op. 57: Andante con moto-Attacca
Beethoven: Piano Sonata No. 23 in F minor, Op. 57: Allegro ma non troppo-Presto

Tracks:

Beethoven: Piano Sonata No. 27 in E minor, Op. 90: Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
Beethoven: Piano Sonata No. 27 in E minor, Op. 90: Nicht zu geschwind und sehr singbar vorzutragen
Beethoven: Piano Sonata No. 28 in A major, Op. 101: Etwas lebhaft und mit der innigsten Empfindung. Allegro ma non troppo
Beethoven: Piano Sonata No. 28 in A major, Op. 101: Lebhaft, marschmabig. Vivace alla marcia
Beethoven: Piano Sonata No. 28 in A major, Op. 101: Langsam und sehnsuchtsvoll. Adagio, ma non troppo, con affetto-attacca
Beethoven: Piano Sonata No. 28 in A major, Op. 101: Geschwind, dich nicht zu sehr und mit Entschlossenheit. Allegro
Piano Sonata No. 29 in B flat major, Op. 106: Allegro
Piano Sonata No. 29 in B flat major, Op. 106: Scherzo. Assai vivace
Piano Sonata No. 29 in B flat major, Op. 106: Adagio sostenuto. Appassionato e con molto sentimento
Piano Sonata No. 29 in B flat major, Op. 106: Largo-Allegro risoluto

Tracks:

Beethoven: 33 Variations Diabelli, Op. 120: Vivace
Beethoven: 33 Variations Diabelli, Op. 120: Alla marcia maestoso
Beethoven: 33 Variations Diabelli, Op. 120: Poco allegro
Beethoven: 33 Variations Diabelli, Op. 120: L'istesso tempo
Beethoven: 33 Variations Diabelli, Op. 120: Un poco piu vivace
Beethoven: 33 Variations Diabelli, Op. 120: Allegro vivace
Beethoven: 33 Variations Diabelli, Op. 120: Allegro ma non troppo e serioso
Beethoven: 33 Variations Diabelli, Op. 120: Un poco piu allegro
Beethoven: 33 Variations Diabelli, Op. 120: Poco vivace
Beethoven: 33 Variations Diabelli, Op. 120: Allegro pesante e risoluto
Beethoven: 33 Variations Diabelli, Op. 120: Presto
Beethoven: 33 Variations Diabelli, Op. 120: Allegretto
Beethoven: 33 Variations Diabelli, Op. 120: Un poco piu moto
Beethoven: 33 Variations Diabelli, Op. 120: Vivace
Beethoven: 33 Variations Diabelli, Op. 120: Grave e maestoso
Beethoven: 33 Variations Diabelli, Op. 120: Presto scherzando
Beethoven: 33 Variations Diabelli, Op. 120: Allegro
Beethoven: 33 Variations Diabelli, Op. 120: Poco moderato
Beethoven: 33 Variations Diabelli, Op. 120: Presto
Beethoven: 33 Variations Diabelli, Op. 120: Andante
Beethoven: 33 Variations Diabelli, Op. 120: Allegro con brio
Beethoven: 33 Variations Diabelli, Op. 120: Allegro molto
Beethoven: 33 Variations Diabelli, Op. 120: Allegro assai
Beethoven: 33 Variations Diabelli, Op. 120: Andante
Beethoven: 33 Variations Diabelli, Op. 120: Allegro
Beethoven: 33 Variations Diabelli, Op. 120: Variation XXVI
Beethoven: 33 Variations Diabelli, Op. 120: Vivace
Beethoven: 33 Variations Diabelli, Op. 120: Allegro
Beethoven: 33 Variations Diabelli, Op. 120: Adagio ma non troppo
Beethoven: 33 Variations Diabelli, Op. 120: Andante, sempre cantabile
Beethoven: 33 Variations Diabelli, Op. 120: Largo, molto espressivo
Beethoven: 33 Variations Diabelli, Op. 120: Fugue-Allegro
Beethoven: 33 Variations Diabelli, Op. 120: Tempo di minuetto moderato
Piano Sonata No. 31 in A flat major, Op. 110: Moderato cantabile molto espressivo
Piano Sonata No. 31 in A flat major, Op. 110: Allegro molto
Piano Sonata No. 31 in A flat major, Op. 110: Adagio, ma non troppo
Piano Sonata No. 31 in A flat major, Op. 110: Fuga

Tracks:

Beethoven: Concerto for piano & orchestra No. 1 in C major, op. 15: Allegro con brio-Cadence
Beethoven: Concerto for piano & orchestra No. 1 in C major, op. 15: Largo
Beethoven: Concerto for piano & orchestra No. 1 in C major, op. 15:
Beethoven: Concerto for piano and orchestra No. 3 in C minor, Op. 37: Allegro con brio-Cadence
Beethoven: Concerto for piano and orchestra No. 3 in C minor, Op. 37: Largo
Beethoven: Concerto for piano and orchestra No. 3 in C minor, Op. 37: Rondo-Allegro

Tracks:

Brahms: Piano Sonata No. 1 in C major, Op. 1: Allegro
Brahms: Piano Sonata No. 1 in C major, Op. 1: Andante
Brahms: Piano Sonata No. 1 in C major, Op. 1: Scherzo-Allegro molto e con fuoco
Brahms: Piano Sonata No. 1 in C major, Op. 1: Finale-Allegro con fuoco
Brahms: Variations in D major on a Hungarian Song Op. 21 No. 2
Brahms: Piano Sonata No. 2 in F sharp minor Op. 2: Allegro non troppo in fis-moll Op. 2
Brahms: Piano Sonata No. 2 in F sharp minor Op. 2: Andante con espressione
Brahms: Piano Sonata No. 2 in F sharp minor Op. 2: Scherzo: allegro
Brahms: Piano Sonata No. 2 in F sharp minor Op. 2: Finale: Introduzione, sostenuto-Allegro ma non troppo e rubato

Tracks:

Chopin: Etudes Op. 10: No. 4 in C sharp minor: Presto
Chopin: Etudes Op. 10: No. 10 in A flat major: Vivace assai
Chopin: Etudes Op. 10: No. 11 in E flat major: Allegretto
Chopin: Etudes Op. 25: No. 5 in E minor: Vivace
Chopin: Etudes Op. 25: No. 8 in D flat major: Vivace
Chopin: Etudes Op. 25: No. 11 in A minor: Lento
Chopin: Etudes Op. 25: No. 12 in C minor: Allegro molto con fuoco
Chopin: Nocturnes: Op. 62 No. 2 in E major: Lento
Chopin: Nocturnes: Op. 72 No. 1 in E minor: Andante
Chopin: Polonaise No. 7
Scriabine: Piano Sonata No. 2 in G sharp minor, Op. 19: Andante
Scriabine: Piano Sonata No. 2 in G sharp minor, Op. 19: Presto
Scriabine: Piano Sonata No. 5 in F sharp minor, Op. 53

Tracks:

Beethoven: Rondos op. 51: No. 1 in C major
Beethoven: Rondos op. 51: No. 2 in G major
Beethoven: Bagatelles op. 126: No. 1: Andante con moto cantabile e compiacevole
Beethoven: Bagatelles op. 126: No. 4: Presto, en si minuer
Beethoven: Bagatelles op. 126: No. 6: Presto-Andante amabile e con moto
Chopin: Etudes op. 10: No. 1 in C major
Chopin: Etudes op. 10: No. 2 in A minor
Chopin: Etudes op. 10: No. 3 in E major
Chopin: Etudes op. 10: No. 12 in C minor
Chopin: Etudes op. 25: No. 6 in G sharp minor
Chopin: Etudes op. 25: No. 7 in C sharp minor
Chopin: Ballades: No. 1 in G minor
Chopin: Ballades: No. 2 in F major
Chopin: Ballades: No. 3 in A flat
Chopin: Ballades: No. 4 in F minor

Tracks:

Liszt: Etudes d'execution transcendante: Preludio
Liszt: Etudes d'execution transcendante: Etude
Liszt: Etudes d'execution transcendante: Paysage
Liszt: Etudes d'execution transcendante: Will-o'-the-wisps
Liszt: Etudes d'execution transcendante: Harmonies du soir
Ravel: Valse Nobles et Sentimentales
Ravel: Miroirs: Noctuelles
Ravel: Miroirs: Oiseaux tristes
Ravel: Miroirs: Une barque sur l'ocean
Ravel: Miroirs: Alborada del gracioso
Ravel: Miroirs: La Vallee des cloches

Tracks:

Haydn: Piano Sonata in D major: Allegro con brio
Haydn: Piano Sonata in D major: Adagio-Presto
Mozart: Piano Sonata in F major: Allegro assai
Mozart: Piano Sonata in F major: Adagio
Mozart: Piano Sonata in F major: Presto
Mozart: Piano Sonata in E flat major: Adagio
Mozart: Piano Sonata in E flat major: Minuetto I & II
Mozart: Piano Sonata in E flat major: Allegro
Mozart: Piano Sonata in A minor: Allegro maestoso
Mozart: Piano Sonata in A minor: Andante cantabile con espressione
Mozart: Piano Sonata in A minor: Presto

Tracks:

Mozart: Piano Sonata in B flat major: Allegro
Mozart: Piano Sonata in B flat major: Andante cantabile
Mozart: Piano Sonata in B flat major: Allegretto grazioso
Mozart: Piano Sonata in F major: Allegro
Mozart: Piano Sonata in F major: Andante
Mozart: Rondo in F major
Mozart: Piano Sonata in C major: Allegro
Mozart: Piano Sonata in C major: Andante
Mozart: Piano Sonata in C major: Rondo

Tracks:

Rachmaninov: Etudes-Tableaux op. 33: No. 4 in D minor: Moderato
Rachmaninov: Etudes-Tableaux op. 33: No. 5 in E flat minor: Non allegro
Rachmaninov: Etudes-Tableaux op. 33: No. 8 in C sharp minor: Grave
Rachmaninov: Etudes-Tableaux op. 39: No.1 in C minor: Allegro agitato
Rachmaninov: Etudes-Tableaux op. 39: No. 2 in A minor: Lento assai
Rachmaninov: Etudes-Tableaux op. 39: No. 3 in F sharp minor: Allegro molto
Rachmaninov: Etudes-Tableaux op. 39: No. 4 in B minor: Allegro assai
Rachmaninov: Etudes-Tableaux op. 39: No. 9 in D major: Allegro moderato
Moussorgski: Pictures at an Exhibition: Promenade
Moussorgski: Pictures at an Exhibition: Gnomus
Moussorgski: Pictures at an Exhibition: Promenade
Moussorgski: Pictures at an Exhibition: Il vecchio castello
Moussorgski: Pictures at an Exhibition: Promenade
Moussorgski: Pictures at an Exhibition: Les Tuileries
Moussorgski: Pictures at an Exhibition: Bydlo
Moussorgski: Pictures at an Exhibition: Promenade
Moussorgski: Pictures at an Exhibition: Ballet des poussins dans leur coque
Moussorgski: Pictures at an Exhibition: Samuel Goldenberg et Schmuyle
Moussorgski: Pictures at an Exhibition: Promenade
Moussorgski: Pictures at an Exhibition: Limoges, le marche
Moussorgski: Pictures at an Exhibition: Catacombae: Sepulcrum romanum
Moussorgski: Pictures at an Exhibition: La Cabane sur des pattes de poule
Moussorgski: Pictures at an Exhibition: La Grand Porte de Kiev

Tracks:

Weber: Piano Sonata Op. 49 No. 3 in D minor: Allegro feroce
Weber: Piano Sonata Op. 49 No. 3 in D minor: Andante con moto
Weber: Piano Sonata Op. 49 No. 3 in D minor: Rondo. Presto
Schubert: Piano Sonata Op. 53 in D minor: Allegro
Schubert: Piano Sonata Op. 53 in D minor: Con moto
Schubert: Piano Sonata Op. 53 in D minor: Scherzo. Allegro vivace
Schubert: Piano Sonata Op. 53 in D minor: Rondo. Allegro moderato

Tracks:

Schubert: Piano Sonata in B flat major: Molto moderato
Schubert: Piano Sonata in B flat major: Andante sostenuto
Schubert: Piano Sonata in B flat major: Scherzo. Allegro vivace con delicatezza-Trio
Schubert: Piano Sonata in B flat major: Allegro ma non troppo
Schubert: Impromptu op. 90: Allegretto
Liszt: Polonaise No. 2 in E major

Tracks:

Schumann: Etudes symphoniques op. 13: Thema. Andante
Schumann: Etudes symphoniques op. 13: Un poco piu vivo
Schumann: Etudes symphoniques op. 13: Marcato il canto
Schumann: Etudes symphoniques op. 13: Vivace
Schumann: Etudes symphoniques op. 13: Variation III
Schumann: Etudes symphoniques op. 13: Variation IV
Schumann: Etudes symphoniques op. 13: Variation post. I
Schumann: Etudes symphoniques op. 13: Variation post. II
Schumann: Etudes symphoniques op. 13: Variation post. III
Schumann: Etudes symphoniques op. 13: Variation post. IV
Schumann: Etudes symphoniques op. 13: Variation post. V
Schumann: Etudes symphoniques op. 13: Agitato
Schumann: Etudes symphoniques op. 13: Allegro molto
Schumann: Etudes symphoniques op. 13: Andante con espressione
Schumann: Etudes symphoniques op. 13: Allegro brillante
Schumann: Fantasie in C op. 17: Durchaus fantastisch und leidenschaft vorzutragen-Im Legenden Ton
Schumann: Fantasie in C op. 17: Mabig. Durchaus energisch-Etwas langsamer-Viel bewegter
Schumann: Fantasie in C op. 17: Langsam betragen. Durchweg leise zu halten-Etwas bewegter

Amazon.com

This is the largest, most comprehensive, and most valuable collection currently available of the playing of one of the greatest pianists of the 20th century. Czech Radio seems to have recorded virtually everything Richter played during his frequent visits to Prague during a period of 34 years. Many of the highlights of the pianist's vast repertoire are included here, including 10 Beethoven Sonatas, two Concertos, and the "Diabelli" Variations, along with major works of Brahms, Chopin, Mozart, Ravel, Schubert, Schumann, and Scriabin. These include such unusual items as the first two Brahms Sonatas and the Chopin Ballades. Some of the earlier recordings are muffled in sound quality, and a few (such as Mozart's Sonata K. 280 and Mussorgsky's Pictures at an Exhibition) are even afflicted with disturbing tape flutter. But most of the recordings sound excellent, and most of the performances are glorious. At the greatly reduced price (15 CDs for the price of 5), this set is a bargain that any pianophile can afford. But if you've collected the original series, beware of discarding them too quickly. An entire CD of Prokofiev--one of Richter's greatest specialties--is missing from this compilation, as are separately issued discs of the Dvorák and Grieg Concertos, which could have made yet another worthwhile disc. For what we have, however, let us give thanks--and also for the space-saving box! --Leslie Gerber

Customer Reviews:

for fanatics!!!.......2007-04-21

I bought this set in a store 2 years ago, i paid about$70 for it.thats about what its worth. I resold it on the net last year for about $100. thats really all this set is worth. the chopin is good the beethoven is excellent,the scriabin is good but the recording is terrible. the ravel the same. the weber is also a very bad recording. the brahms was recorded when richter started playing on yamaha pianos because he was going deaf. this renders a very horrible tinny sound,the playing is excellent but the piano is not worthy of the perfornance. to sum it up the playing is excellent on all the recordings but there is only about six disks worth of music that is worthy of giving attention to, $100 thats a fair price for this set. find a good distributer or a good classical music store like tower records{thats where i bought it} its really not so obscure or rare. I sell on the net all the time, I have a reputation for selling rare music and dvds for very reasonable prices. thing is half this stuff is not rare at all. spend $20 take a road trip find a record collector or a store that deals in nothing but classical music and you will probably walk out with this set for $125-$150 or maybe have a real good day and only pay $50. prices that range from $500 to $1000 this is for fanatics or people who are bored and simply have to much money. I would not profit on my worst enemy in such a way. so please at least try my advice. thank you.

Dont hesitate....it's worth every dollar.......2005-02-14

I bought this set two years ago...and today..still...I consider the prize of my collection. Richter's ballades are remarkable, probalby the best he has releases(all four are included)-the diabelli variations are top form as are Rachmaninov Etudes Tab. Despite some sound problems, this is an excellent version of the Pictures and the two brahms sonatas are much better than decca's release. Also included here is Richter's only Hungarian Variations by Brahms( i think). The D960 is good, not the best I have heard, though the second movement almost moved me to tears one night. You will never find a more thorough compilation of high quality performances ranging from the fifties to the eighties. There is nothing here to complain about.

Many definitive recordings here.......2004-03-20

Richter has a way of getting to the heart or to the truth behind any piece he plays. Using his powerful mind, spirtual understanding, and limitless technique, his is able to put his ego aside and let the music speak for itself. Out of the 15 discs, I thoroughly enjoyed 14 of them. The only exception being the Brahms Sonata 1 & 2. I simply do not enjoy listening to either piece. I will now list the pieces in which I believe are definitive performances. Each will be followed with other recordings with which I am comparing them to. 1. Appassionata(Pletnev, Pollini, Rubinstein, Horowitz) 2. Chopin Etude Op.10 No.1 (Perahia, Pollini, Ashkenazy, Lugansky, Wild, Berezovsky) 3. Chopin Nocturne Op.62 No.2 (Pires, Ashkenazy, Rubinstein) 4. Chopin Polonaise-Fantasy Op.61 (Kapell, Horowitz, Pollini) 5. Scriabin Sonata No.5 (Horowitz, Evgeni Mikhailov, Sofronitsky, Bernd Glemser) 6. All Chopin Ballades-definitely some of the most passionate interpretations on record(Perahia, Ashkenazy, Nikolai Petrov, Zimmerman, Kissin) 7. Beethoven Piano Con. 1&3 (Perahia, Serkin, Rubinstein) 8. Liszt Transcendental Etudes-excluding Feux Follets, best performance is given be E.Kissin (V.Ovchinikov, Berezovsky, Arrau, Bolet, F.Kempf) 9. Valses nobles et sentimentales (Cecile Ousset, Berezovsky, Pogorelich) 10. Miroirs-Richter perfectly enters the sound-world of Ravel like no other pianist. His tone and phrasing are out-of-this-world. (Cecile Ousset, Jean-Yves Thibaudet, Minoru Nojima, Gieseking, Anne Queffelec) Almost every piece he plays sounds important and has an indescribable satisfaction to it. Buy it! It will give you hours of listening pleasure.

Essential Music.......2003-09-17

After owning a few dozen recordings with Richter (including a few made in Czechoslovakia), buying this box-set would have been a stretch had it not been for a couple of assumptions: a) Richter's confessed affection for several things Czech b) the promised value for money. Now, to sum it all up, I am so glad this set exceeded my expectations by so much!

Indeed, I could detect in these live performances, given over 3 decades, what might have been Richter's love for music, audience, and Czechoslovakia. The atmosphere is of warm intimacy, punctuated by veritable moments of musical tension built and delivered so masterfully, yet jocular at times. Such unique moments, not always present in his other recordings, I posit, are the fruit of Richter's being in resonance with his part Slavic and part German audience.

As for the presentation, suffice it to say it is simply great. Kudos to Harmonia Mundi Germany! The master-recordings seem to be more than decent--considering their casual nature. The booklet is concise and informative--notes on the composers and pieces as well as notes on Richter's approach to those pieces/composers.

Had I been asked to pay twice as much as I did after listening to this music I would have done it!

A Treasure Trove of 'Live' Richter Performances.......2002-04-10

Recorded by Czech Radio between the mid '50s and the late '80s, this fascinating CD set is one of the best available documents of the great Sviatoslav Richter in concert. Recorded sound is variable (the set rates 5 stars just the same), and most of the pre-1970s performances are mono, but no fan of great pianism should be without this set. And although many performances here are Richter "standards" (Skryabin sonatas, Beethoven's 'Appasionata' and 'Tempest' sonatas, Schumann's 'Fantasie,' to name just a few), there are some rarities as well. Let me give just three reasons why I find this set so indispensable. Richter didn't perform Beethoven's monumental 'Diabelli Variations' and 'Hammerklavier' sonata until quite late in his career; the very well recorded Prague concert recordings presented here are fully the equal of any released on other labels. Likewise, the performance of Brahms's First Piano Sonata (which exists in several Richter versions)is truly first-rate. Nevertheless, the Brahms disc is more valuable for presenting the best Richter performance I've heard of the less well-known Second Sonata, plus the only known Richter performance of the composer's 'Variations on a Hungarian Tune.' Finally, let me say to those who have long known - and loved - Richter's magnificent 1958 Sofia performance of Moussorgsky's 'Pictures at an Exhibition,' this set presents a roughly contemporary (1956) Prague account that is almost as good and much better recorded. So Richter fans shouldn't hesitate and those who don't know the the man's art will find in this set a convincing demonstration that the late Ukrainian/Soviet pianist was one of the greatest artists in the history of the instrument. One final note. This is a reissue of a boxed set that appeared several years ago, also on Harmonia Mundi. For the reissue, the fifteen discs have been transferred to sturdy cardboard envelopes and housed in a space saving 'soft' box that is elegant to behold and very space-efficient. Full liner notes duplicate those on the previous issue, but the price has been handsomely reduced: fifteen cds are now offered for the price of five!

Average customer rating:

Expressive brightness!
MORE FORTE
One of the Very Best Piano Recitals in Existence
Bravo Richter!
Oh my God!

Sviatoslav Richter 3

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
Similar Items:

Sviatoslav Richter 2
The Sofia Recital 1958
Horowitz Plays Scriabin

ASIN: B00000JNQ7
Release Date: 1999-07-20

Tracks:

Piano Concerto No. 2 In C Minor, Op. 18: Moderato
Piano Concerto No. 2 In C Minor, Op. 18: Adagio sostenuto
Piano Concerto No. 2 In C Minor, Op. 18: Allegro scherzando
Preludes, Op. 32 (Excerpts): No. 1 In C
Preludes, Op. 32 (Excerpts): No. 2 In B Flat Minor
Preludes, Op. 23 (Excerpts): No. 2 In B Flat
Preludes, Op. 23 (Excerpts): No. 4 In D
Preludes, Op. 23 (Excerpts): No. 5 In G Minor
Preludes, Op. 23 (Excerpts): No. 7 In C Minor
Etudes: Op. 2 No. 1 In C Sharp Minor (From: 3 Pieces For Piano)
Etudes: Op. 8 No. 5 In E
Etudes: Op. 42 No. 2 I In F Sharp Minor
Etudes: Op. 42 No. 3 In F Sharp Minor
Etudes: Op. 42 No. 3 In F Sharp
Etudes: Op. 42 No. 5 In C Sharp Minor
Etudes: Op. 42 No. 6 In D Flat
Etudes: Op. 8 No. 11 In B Flat Minor
Etudes: Op. 42 No. 8 In E Flat
Etudes: Op. 65 No. 1 In B Flat
Etudes: Op. 65 No. 2 In C Sharp
Etudes: Op. 65 No. 3 In G

Tracks:

Waldszenen. Op. 82: Eintritt
Waldszenen. Op. 82: Jager auf der Lauer
Waldszenen. Op. 82: Einsame Blumen
Waldszenen. Op. 82: Verrufene Stelle
Waldszenen. Op. 82: Freundliche Landschaft
Waldszenen. Op. 82: Herberge
Waldszenen. Op. 82: Vogel als Prophet
Waldszenen. Op. 82: Jagdlied
Waldszenen. Op. 82: Abschied
Fantasiestucke, Op. 12 (Excerpts): Des Abends
Fantasiestucke, Op. 12 (Excerpts): Aufschwung
Fantasiestucke, Op. 12 (Excerpts): Warum?
Fantasiestucke, Op. 12 (Excerpts): In der Nacht
Fantasiestucke, Op. 12 (Excerpts): Traumes Wirren
Fantasiestucke, Op. 12 (Excerpts): Ende vom Lied
Toccata In C, Op. 7
Fantasie In C, Op. 17: Durchaus fantastisch und leidenschaftlich vorzutragen - Im Legendenton
Fantasie In C, Op. 17: Massig. Durchaus energisch - Etwas langsamer - Viel bewegter
Fantasie In C, Op. 17: Langsam getragen. Durchweg leise zu halten - Etwas bewegter

Customer Reviews:

Expressive brightness! .......2006-01-26

To talk about Sviatoslav Richter `s pianism is to talk about a top legend in the keyboard. In this recording we can appreciate once more his notable skills. This album is an additional proof to support his kaleidoscopic repertoire.

The special approach he had for Scriabin, his description about the game of lights and shadows, makes of this performance a collector item.

His Schumann is deeply introspective and aristocratic and his Rachmaninov is unbetable.

I recommend with intense fervor and without dilation its acquirement.

MORE FORTE.......2005-08-06

Commenting on the way her husband's style of playing changed in his later career, Richter's widow said "Slava used to play more `forte'". In fact the selections contained in this 2-disc set cover the decade 1952-62, and there is some memorable `forte' playing indeed here. The Rachmaninov B flat prelude is simply colossal, the best I ever heard it played, and Richter himself either couldn't or didn't wish to do it like this again. Schumann's toccata is another memorable essay in the forte manner, and it raises some issues regarding Richter's playing in general. I first heard of Richter in c1960, when I saw a review in The Gramophone of this very performance. The somewhat breathless reviewer assured us that Richter was quite the greatest pianist alive, witness this account of the toccata. Agog with curiosity I purchased the record, only to be puzzled as to what the fuss was all about. It is a first-class performance unquestionably - I have never heard better. On the other hand this is not a piece that proves a lot about the player. Schumann thought it particularly difficult, but Schumann was far from being a pianist of the first rank. What it demands is a specialised knack for playing sixths in the right hand, and players of quite modest attainments in other respects sometimes have this knack. As it started so it continued throughout Richter's career - we were led to expect signs and wonders and we accordingly found them at every turn.

My own view of him is not quite like this. Apart from Lipatti, Richter was the only piano player that I ever heard of as being admired by Michelangeli, and what they all have in common is very clear, namely a preoccupation with `quality', particularly with evenness of touch, in their technical execution. Lipatti died tragically young and Michelangeli did not - shall we say - over-exert himself in his performing commitments. Richter probably did exactly that, and the consequences were interesting. In some cases he simply threw over the preoccupation with smoothness, and some of his best and most involving performances are models neither of perfect evenness nor even of exceptional accuracy. Also, his personal comportment became rather eccentric and so, in my own view, did quite a lot of his playing in his later years, notably in some very peculiar choices of tempo at times. However what came increasingly to the fore in the process was what marked his style out as uniquely his, namely an introverted and self-communing manner. We are starting to hear this in the Fantasiestuecke from 1956, but it breaks on us in a major way in the great C major Fantasie itself, for my money probably Schumann's greatest composition, which Richter recorded in 1962 at age 47. His overall concept of the work is not a million miles distant from Pollini's, and no extrovert account of the last movement would be worth listening to, but just listen to Richter in the central march. I admit that the dynamic marking at the start is `mezzo-forte', but did you ever hear that interpreted as being quite as subdued as this?

In general however, this set is more forte, and completely free, so far as I noticed, from not only inaccuracies but also eccentricities. My one serious query concerns Scriabin's etude op 42/3. To hear how this should really go listen to Horowitz, and I have to wonder whether Richter really understands it. His speed is far too fast, and the lonely, darting, will-o'-the-wisp feel about the trills is lost. I can on the other hand reassure you that the piece immediately following is played in the reasonable time of 2'36" and not 1'36" as stated. Apart from this little or nothing here is anything short of superlative. He gives only 6 of the 8 Fantasiestuecke, omitting Grillen and Fabel which apparently he didn't care for, but I would say he surpasses Rubinstein in these, above all in Traumeswirren where he eclipses him totally. The Rachmaninov quota is magnificent from start to finish, not least in the concerto. Richter's speed is more or less par for the course these days, significantly slower in the first movement than the composer's own incandescent account. This is done, according to the liner-essay, to elucidate the movement's structure. From this I must infer that the composer obfuscated the movement's structure, which is such patent rubbish that I would suggest that you treat this remark, together with much else in this liner-note, as clueless and meandering.

The recorded quality is quite good for its era, although short of what we would expect today. As a memento of a great player and musician, whose reputation has suffered no little hurt from the dull and automatic applause given to everything he did by a certain section of his following it is just about as good an anthology as I know. He was fascinating and unusual to a fascinating and unusual degree, and we will come to know, love and appreciate him better by listening to him with some discernment.

One of the Very Best Piano Recitals in Existence.......2001-06-01

There is no single greatest pianist of the century, but rather a set of artists each with their own particular genius and flaws. Nonetheless, Richter stands out in this set of artists as one of the front runners. Therefore Richter's recordings are some of the very most important in the art of the piano. The present set captures Richter in the repertiore to which he can claim the most sublime and uncontroversial mastery: the late romantic Russian composers Rachmaninov and Scriabin, and the early romantic Schumann. Each piece represented can be considered definitive or near definitive. The second Rachmaninov concerto here is indeed the definitive recording, and the same can be said for the Schumann Waldszehen. Also, the pieces are very important to the piano repertiore in general. For example, Schumann's Fantasy is one of his masterpieces. As far as I am aware, none of these pieces are represented better anywhere else (though Argerich has a very good recording of the fantasy and fantasy pieces, and Scriabin is also represented just as well by Sofronitsky and Horowitz). All these reasons makes the present disks one of my very top choice for a piano recital, I'd say in the top 20 of all the disks I am familiar with (which is a lot). The only reason I see not to buy the present disk is because the particular recordings may be found in more completeness in other Richter disks. For example, the Rachmaninov preludes are all contained in a Richter disk devoted entirely to Rachmaninov, and the Scriabin etudes are also contained on a single disk which also contains more. So the question is whether you want to buy the present collection or buy the same pieces in more completeness individually.

Bravo Richter!.......2000-06-15

A terrific version of all this works. The Rachmaninoff is obviously very known for Richter. The 2nd Concerto and the preludes are played with very feeling. Scriabin is well dominated. These two composers were not represented a big job for Richter. The special of this CD's is the Schumann pieces. The Toccata version here included is best that I know. Also the Fantasiestücke and the Waldszenen are pure poetry. The Fantasie, the biggest and passionate work for piano of Schumann, looks like performanced by the Composer himself. It's the greatest recording of the work made ever

Oh my God!.......1999-07-30

The only thing wrong with this collection is the cheesy picture of Richter on the cover. Every single performance is awesome. The Rach 2 is, of course, phenomenal, but listen to the Preludes! It is impossible to imagine a more fulfilling realization of these beautiful, powerful, works. Now for Scriabin: it is interesting to compare Richter with Horowitz, who recorded many of the same etudes on Sony. Both, of course, are supreme masters of the decadent Russian composer, but where Horowitz makes you remember individual moments, Richter always seems to have the whole work in his sights. The famous C-sharp minor etude is truly "Affanato" (breathless) from Richter: Horowitz stuns you with his power in this etude, Richter amazes with his speed. A pity the recording of the Scriabin was so distant (but the rest of the recordings are fine). The Schumann is possibly even better. You'd better hurry out and buy this one before it sells out!

Average customer rating:

Sviatislav Richter in the 1950s, Vol. 2

Manufacturer: Parnassus
ProductGroup: Music
Binding: Audio CD

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Imports | Stores | Music
Similar Items:

Sviatislav Richter in the 1950s, Vol. 1
Sviatoslav Richter in the 1950s, Volume 4
Sviatoslav Richter in the 1950s, Vol. 3
Sviatoslav Richter in the 1950's, Vol. 5

ASIN: B000001Z4Z
Release Date: 1997-01-21

Tracks:

Var On A-B-E-G-G, Op.1
Fant Op.12: No.2, Aufschwung
Fant Op.12: No.3, Warum?
Fant Op.12: No.7, Nicht Schnell
Fant Op.12:Humoreske in B flat, Op.20
Pno Son No.2 in g#, Op.19
12 Prlds, Op.11

Tracks:

Pno Son No.6, Op.62
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Gnomes
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: The Old Castle
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Tuileries
Pictures At An Exhibition: The Ox-Cart
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Ballet Of The Chicks In Their Shells
Pictures At An Exhibition: Samuel Goldenberg And Schmuyle
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Marketplace At Limoges
Pictures At An Exhibition: Catacombs
Pictures At An Exhibition: With The Dead In A Dead Language
Pictures At An Exhibition: Baba Yaga
Pictures At An Exhibition: The Great Gate At Kiev
Con No.1 in b flat, Op.23: Allegro Non Troppo E Molto Maestoso
Con No.1 in b flat, Op.23: Andante Semplice
Con No.1 in b flat, Op.23: Allegro Con Fuoco

Schumann: Piano Sonata No.2/Brahms: Piano Concerto No.2

Average customer rating:

Schumann: Piano Sonata No.2/Brahms: Piano Concerto No.2
Sviatoslav Richter
Manufacturer: EMI/Redline
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B000023XYW
Release Date: 2002-11-05