C0839. SIR JOHN BARBIROLLI Cond. Buchesest Phil.: La Mer (Debussy); GEORGES GEORGESCU Cond. Bucharest Phil., w.SVIATOSLAV RICHTER: Concerto #2 in B-flat (Brahms). (Germany) Archipel Stereo / Mono 0407, Live Performances, 1958/23 May, 1964. (Archipel erroneously attributes the Richter performance as having been 1958, under Barbirolli.) - 4035122404074
“…the conductor of Richter’s performance was in fact Georges Georgescu, and that performance was from a concert of 23 May, 1964, a few months before the conductor’s death.”
- Mort Linder, Mt. Kisco, NY
(as quoted in CLASSIC RECORD COLLECTOR, Summer, 2009)
“There were quite a number of great pianists in the Twentieth Century. There are even great pianists in the Twenty-First Century. But Richter stands alone, the purity and passion of his devotion to music, of his unique genius, obvious in every note. This was a man who said, in all modesty, just play the notes on the page. Yet he was a man able to transmit the spiritual essence of music, a man able to leap the chasm between self and other, between aesthetics and life. What a tale he might have told were he inclined to the verbal. But he was not. His comments about his music making were most often along the lines of, ‘I played well’, or, ‘I played poorly’. Neuhaus instantly recognized him, his first true genius pupil, when Richter arrived at the Moscow Conservatory at the unusually old age of 22. ‘He makes a nearly perfect interpretation as soon as he sees a work. I have never seen any other pianist that has wider artistic horizon than him’. But I don’t imagine Richter cared one way or the other. The music was all that ever mattered.
Someone described Richter as a sort of chameleon, taking on the hues of the music he’s performing. This is apt. I remember the first time I heard him play Grieg’s Lyric Pieces. It is the sweetest, simplest, most honest and heart felt playing of this wonderful music, and this from the man I had always considered the greatest Beethoven exponent on record. It was the same with Bach’s ’Well Tempered Clavier’. And with Schubert’s sonatas: absolute truthfulness to the music. Can you imagine a chef who is a master of every cuisine?
As for the music, he makes one use words like ‘greatest’. He washes away considerations and preconceptions through the sheer power and truthfulness of his playing. It is particularly difficult talking about a Richter performance. I recall a Russian expert speaking of Richter in terms of a spiritual teacher. Yes. That is closer to the truth than anything I’ve said.”
- Russell Lichter, THE STEREO TIMES, Jan., 2005