Sviatoslav Richter - The Last Three Sonatas, Opp.109, 110 & 111 (Beethoven)  (Russia Revelation 10096)
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Sviatoslav Richter - The Last Three Sonatas, Opp.109, 110 & 111 (Beethoven)  (Russia Revelation 10096)
P0039. SVIATOSLAV RICHTER: The Last Three Sonatas, Opp.109 - 22 Jan., 1972, 110 - 10 Oct., 1965 & 111 - 12 Jan., 1975 (Beethoven) (England) Russia Revelation 10096. Long Out-of-print, Final Sealed Copy! - 5032636100965


“Abram Chasins calls Sviatoslav Richter ‘essentially a miniaturist’, and in these recitals it is easy to see why. Richter makes the most of the twists and turns in the score - he always seems to live for the moment. That is why it is easy to forgive the missed notes - you can generally see (or hear) what he was aiming for. At the same time the late Beethoven Sonatas demand from the performer an exceptional understanding and mastery of large structures and internal connections. Without this they do not reveal their depths and are reduced to a series of episodes. Richter's Beethoven is completely successful both in its attention to detail and its ability to put across these difficult pieces as coherent wholes. These performances are prime examples of this artist at his best and this is truly an edifying experience.”

- Paul Geffen,

“On the Revelation disc two of the last three sonatas live up to the company’s trademark. Richter’s Opp. 109 and 110 are characteristically sober, stoical affairs, with sculpted rather than moulded transitions and no concessions whatsoever to charm-school glamour. He was on top form at the time, and these accounts would be on my short-list for top recommendation. Only the very measured Allegro molto of the A flat Sonata is likely to raise eyebrows, but its rock-steady determination is inseparable from Richter’s far-sighted conception of the whole….Anyone allergic to the sound of audience presence, or to the contrived absence of applause, should again steer clear, but the recording is more acceptable than some from this source, on a level with the best of the Praga set.”

- GRAMOPHONE, April, 1998