Richter and Karajan play Tchaikovsky's Concerto No. 1 in B-flat Minor

★★★★★

   Romantic era was the period known for industrialization, developing big cities and railway transportation, deep social changes and great technical improvements. In the same 19th century position of arts, literature and music has changed, and artists win privileged position. Musicians were no longer treated as servants, and best virtuosi were worshiped as messengers of the gods. This was the setting for developing the new attitude to a musical form. Among many classical and romantic forms of musical works the one which became most capacious was concerto, especially piano concerto, which finally conquered popularity of violin concerto. 

   Most popular piano concertos of the era became landmarks of the style, after Beethoven’s symphonic concertos, after spectacular brilliant concertos of Hummel, Weber, Field and Chopin, romantic composers have wide perspective of change and various possibilities for constructing new forms. Variety of formal solutions show possibilities of various relations between piano and orchestra and various number of movements – from 1 part in Liszt’s 2nd Concerto (in fact it is in 6 connected parts), 2 parts in big variety of constructions by many composers, 4 parts in Liszt’s 1st Concerto, all four Concertos by Henry Litolff, Brahms’ 2nd Concerto and many more. There were also experiments with different forms, e.g. theme with variations and in effect concerto in 11 parts like 1st Glazunov’s Concerto or 13 parts like in 2nd Concerto by Zygmunt Stojowski. In this wide and differentiated movement Piano Concerto No. 1 B-flat Minor by Peter Tchaikovsky looks as traditional as conservative.

Richter and Karajan in Tchaikovsky's Piano Concerto No. 1 (1963)

   What makes Tchaikovsky’s First Concerto so great and unique is invention of its themes and strong formal construction, natural meanings and powerful expression based on perfect compromise between classical idea of form and romantic spirit. This work is so clear in formal idea and so consequent in its simplicity, it can give listening pleasure even in average performance. But only well balanced renditions can grasp all of its intellectual and emotional subjects. Paradoxically this balance happens to be harder to achieve for artists of best qualifications. And these who were trying to overcome this condition were loosing natural musical sincerity and credibility.
   Among many great performers of this concerto was Svjatoslav Richter, who played it with strong, clear and decided phrases, almost as he was trying to restrain some emotions expressed by accompanying orchestra. But trying to stop Berliner Philharmoniker under Karajan always was an impossible task. Great orchestral phrases and vividly alive orchestral sound are about to dominate whole performance, what makes Richter to match. In final effect rendition is full of energy covering structural qualities. Whole work is too much unequivocal. Despite perfect work of pianist this performance’s worth is only four stars.

Richter and Rostropovich Play Concertos by Robert Schumann

★★★★★

   Romanticism was artistic and intellectual movement of various directions and currents. One of dominants of the era was social and philosophical background of artistic activities. This was not new idea, but in prior eras it was always limited to one clear idea and all answers were already known. The one and only question was about how to render idea to find full understanding of listeners. In romanticism many composers were searching for new, more capacious musical construction and a new shape of musical forms. One of such ambitious composers was Robert Schumann (1810-1856), who was experimenting with new forms and trying to renew some classical ideas. He started as music critic and he was always aware of the possibilities and importance of meaning in absolute music. Most famous examples are his cycles of piano miniatures, cycles of songs and four symphonies. Also at least two of his concertos are concert favorites.

   Robert Schumann started composing piano concertos when he was twenty, but results disappointed him and in effect he criticized the idea of the form. In 1828 he worked on piano concerto in E-flat major, next year he tried to compose concerto for piano and orchestra in F major, then in 1839 he wrote one movement of concerto in D minor. When he was thirty, he wrote Fantasy in a Minor for piano and orchestra which became the first part of Piano Concerto in A Minor Op. 54, finished in 1845. His next concert pieces were Konzertstück for Four Horns and Orchestra Op. 86 and Introduction and Allegro Appassionato for Piano and Orchestra Op. 92, both composed in 1849, Cello Concerto in A Minor Op. 129 from 1850 and three concert works from 1853: Fantasy in C for violin and orchestra Op. 131, Introduction and Allegro for Piano and Orchestra Op. 134 and Violin Concerto in D minor.  Both concertos in A Minor are definitely most famous of Schumann’s concertos.

Richter Rostropovich Schumann - Concertos (1961, reissue 1971)

   Piano Concerto in A Minor is great success of Robert Schumann and His idea of emotionally driven concerto being continuation of Beethoven’s symphonic concerto and antithetic to concertos of Schumann’s contemporaries. The compact shape, fresh and clear melodic invention and construction subordinated to the clear dramatic idea are features of this work. The 1958 interpretation by Svjatoslav Richter (1915-1997) is probably the best rendition of Schumann’s Piano Concerto ever. Richter as virtuoso pianist had technical excellence and intellectual base sufficient to create great works of art. What makes him unique is his possibility of profound emotional connection with the composer’s idea and with listener’s sensibility. He communicates not as middleman; he is the fully proficient element of this process. His vision of Schumann is touchingly simple, like he was just playing notes finding them instinctively their natural place. Orchestra of Warsaw National Philharmonic conducted by Witold Rowicki sounds very good, with lots of space for soloist and well balanced proportions.
   Cello was one of instruments Schumann have studied in his youth, so he knew possibilities and limitations of the instrument enough good. But his idea of joining soloist with orchestra was rather to create emotional dramatic tension in musical narration than conventional piece in concerting style which he had so much criticized. He wrote concert in three united movements with concise solos and considerate answers in orchestral parts. In effect Cello Concerto in A Minor Op. 129 is Schumann’s great achievement and one of the best cello concertos ever. Its cheerful feeling, slide along and flowing action, reducing make it invariably great position in concert repertoire. Interpreted by Mstislav Rostropovich (1927-2007), one of best cellists recorded ever, Schumann’s Concerto sounds perfect, light and meaningful. Accompanied by the Leningrad Philharmonic Orchestra under Gennadi Rozhdestvensky, Rostropovich’s 1961 brilliant performance shows charm of Schumann’s Cello Concerto. Many qualities mentioned on Richter’s interpretation of Schumann’s Piano Concerto and Mstislav Rostropovich’s rendition of Cello Concerto in A Minor Op. 129 have their counterpart in each other. No wonder Deutsche Grammophon joined these two recordings in one album in 1961 and republished it in 1971. Five stars for these breathtakingly performances is quite natural rate.

Hugo Wolf – Mörike-Lieder – Dietrich Fisher-Dieskau & Svjatoslav Richter

   Romantic period delivered not as many new musical forms as preceded eras of Classicism or Baroque, the characteristic of 19th century was rather to make new use of many older constructive ideas than to create them from the beginning. Musical form was less important than emotional content and musical psychology took primate over intellectual constructions. Many historic forms were still in use, but with new esthetical attitude and in more flexible meaning, from sonata form, through symphony, to concerto and opera. Some more ideas have been developed from previous forms. Most independent and new forms were symphonic poem and romantic song. While first form has limited scope only, song became the hallmarks of the time. Since Schubert, Chopin, Schuman, through Wagner, Brahms and Tchaikovsky to Mahler and Strauss, song remained primary language of romantic music.
   Romantic song was not only a popular way of organizing musical material in composition. Second element of the song was lyrical content which in fact usually took over the overriding role in construction. Such idea was a foundation of solo songs by Hugo Wolf who was composing his songs in predominantly through-composed form. He was strongly affected by Richard Wagner’s solutions, in many fragments he used lots of chromaticisms and nonperiodic phraseology. Hugo Wolf was one of most talented lieder composers of romantic era, he composed 250 songs in 10 years period from 1888 to 1897. He didn’t wrote typical cycles of songs, but he focused on one composer or one set of poetry at a time, so he composed songs to Eduard Mörike (Mörike-Lieder) in 1888, Joseph Freiherr von Eichendorff (Eichendorff-Lieder) in 1889, Johann Wolfgang von Goethe (Goethe-Lieder) in 1890 and Michelangelo Buonarrotti (Michelangelo Lieder) in 1897. He was also author of Spanisches Liederbuch (1891) and Italienisches Liederbuch (1892, 1896).

Hugo Wolf: Mörike-Lieder – D. Fisher-Dieskau & S. Richter (1973)

   Probably most praised phonographic release of Wolf’s songs is life recording of great tenor and congenial interpreter of romantic song Dietrich Fisher-Dieskau and Svjatoslav Richter – pianist of unlimited possibilities, one of those few presenting comprehensive profile of technical, intellectual and emotional qualities in piano art. Their Innsbruck recital in October 1973 was great success although it wasn’t only one success of this duo, they were acting together a lot and publishing recordings with Schubert and Brahms recitals. The record published two years after Innsbruck recital by Deutsche Grammophon (2530 584) is one of greatest positions in Wolf’s discography. It captures the atmosphere of live performance and renders its dramatic tension.
   This selection comprises 18 most characteristic songs out of 53 songs contained in 4 volumes of complete collection of Mörike-Lieder cycle. Preserving the original idea of Hugo Wolf, artists had been trying to construct recital basing on the same opening and closing songs and common highlights. Perfect example is Der Feuerreiter, the song that requires virtuoso technique and dramatic skills of both musicians. This is also the one clearly showing the New German School impact on artistic song and its consequences in Wolf’s style. About 30 years after Liszt and Wagner’s songs, Slovenian composer establishing new relations between words and music made next step towards expression and modernism. The importance of Hugo Wolf’s songs is undeniable. Fortunately there are singers performing and recording these works, Wolf is present in concert and in radio programs. Recorded recital belongs to events of great artistic importance – for its unique qualities and for giving Hugo Wolf the place in our memory it deserves four stars.

Svyatoslav Richter – Schubert Piano Sonatas

   In artistic output by Franz Schubert one can find works strictly connected to classical ideas of form, however many of them are exploring new era sensitivity. As his unusual talent can be observed in almost every composed piece, 21 piano sonatas is collection of more comprehensive works, giving a chance to understand what direction and the way he was trying to experience the capacity of sonata form. Two of Schubert’s Piano Sonatas recorded by Svyatoslav Richter in 1979 show how different these works can be. First of them Piano Sonata No. 9 in B Major Op. 147, D. 575 was composed in August 1917. The formal discipline of this work, nicely balanced ideas and means give the same kind of comfort as similar early sonatas by Beethoven. Opposite position takes work with typical romantic freedom of expression and free form, Piano Sonata No. 11 in F Minor, D. 625 finished one year later in September 1918.
   First difference on construction level is switching place of Scherzo – in Sonata No. 9 it is still 3rd movement, exactly as in classical sonata form, but in Sonata No.11 it is 2nd movement. But both are still four-part works. Sonata No. 9 has four-part order: Allegro ma non troppo – Andante – Scherzo. Allegretto – Allegro giusto. In Sonata No. 11 parts are in sequence: Allegro – Scherzo. Allegretto – Adagio – Allegro. Inner differences are much more substantiate. Changes of tempo and dynamic contrasts in Sonata F Minor can remind us capriccio or fantasia, what makes this romantic sonata is widely open for individual interpretations.

Svyatoslav Richter – Schubert Piano Sonatas (1981)

   In late seventies Svyatoslav Richter placed Schubert’s Sonatas No. 9 and No. 11 in many programs he played all over the world. Many of these performances were recorded and published. Sonata No. 9 in 1979 was recorded live in Tokyo for RCA Victor and in London for BBC, Sonata in F Minor in Munich in 1978 and in 1979 in Tokyo and in London – first two recordings published by RCA Victor and London performance by BBC Legend. Live performances recorded for RCA Victor in Tokyo were published in the 1981 edition of Melodiya.
   Svyatoslav Richter was one of best pianists in 20th century and perfect interpreter of Schubert’s Sonatas. Legendary technical possibilities gave his performances varied layers of musical narration obtained by colorful sound, articulation and dynamics. This made remarkable readability of construction and deep emotional contents. Both Sonatas are clearly opposite and Svyatoslav Richter’s interpretations intensify impression of these features. In his performance Schubert’s Sonata B Major is intended to compensate various layers and to reduce contradictions in single structural whole. In Sonata F Minor basis for Richter’s interpretation were contrasting episodes and thematic transformations are building strongly emotional musical narration. Dramatic tension between these two Sonatas can be seen as the moment of defining change made between classical and romantic attitude. Richter’s performance is great opportunity to perceive this change.

Oleg Kagan and Svyatoslav Richter – Mozart Sonatas for Violin and Piano

Among greatest Russian violinists of the eighties, Oleg Kagan was one with best chances for playing leading role in world of violin, person of great possibilities. He died in 1990, before his 44, in very moment his career became flourished. His live recordings are the testimony of interpreting talent and great artistic consciousness. He was born in 1946 on Sakhalin, learned in Ryga and since he was thirteen in Moscow Conservatory in classes of Boris Kuznetsov and David Oistrakh. In seventies he became playing chamber music with Natalia Gutman and Svyatoslav Richter and this partnership gives him chance for developing of worldwide career.

There are many good records documenting interpreting art of Oleg Kagan. One of them is great is double album with Franz Schubert’s Octet and Two Trios recorded in 1979 and published in 1983. Special position in artist’s discography have live recordings of chamber concertos he took part. One of them is published in 1987 by Melodya recording of the Mozart recital during December Evenings at the Pushkin Fine Arts Museum in Moscow. Oleg Kagan and Svyatoslav Richter played two sonatas for violin and piano of Wolfgang Amadeus Mozart – Sonata B-flat Major KV 378 and Sonata G Major KV 379.

Kagan and Richter – Mozart Sonatas

Notability of this recording is contribution of both members of the duo – Kagan and Richter. Mozart wrote his Sonata B-flat Major as 23-years-old but yet quite mature composer. Two years later it was published as number 4 in set of 6 Sonatas op. 2. And great composer’s stylistic achievement in this compositions is creating musical narration as the bound between instruments. He gave no chance to play this work by one an musicians has to think about both instruments simultaneously, what means listener have to hear their joint appearance the same way. Svyatoslav Richter was one of greatest pianists of 20th century and great interpreter of chamber music. He was genius of musical thinking, legendary performer of hours of orchestral music on piano without previously prepared transcriptions. His solo piano recordings demand the highest attention and in short time I am going to write about this genius again.
This is about Oleg Kagan, great violinist who passed too early, to show what were his real possibilities. His tone, sometimes with strong vibration and firmly drawn phrasing was in a way belonging to post-romantic school. Such strong shaping of Mozart phrases makes its emotional content more expressive and understandable. In Brezhnev era it was compliant to Soviet Union official esthetics – such strongly accented interpretations were better readable for working class and whole society. Sometimes it seamed like he was missing the past of violin glory, trying to renew the style of nineteenth century masters. But while listening his recordings of modern music and 18th century compositions it becomes clear, he is more like romantic virtuoso who is moving towards reconciliation of emotional violin school with modern expectations of intellectual distance and emotional calm. There’s no need to add the performance of Mozart’s Sonatas is great, it’s clear itself.