Text in englischer Sprache verfügbarHaving learned the fundamentals of music from his father, Sviatoslav Teofilovich Richter taught himself the piano and had already given public concerts before entering the Moscow Conservatory in 1937. While still a student, Richter won first prize at the All-Union Contest of Performers of 1945. His playing earned him considerable renown, and by the time of his graduation in 1947 he had devoted fans. In 1949 he garnered the coveted Stalin Prize. Richter gave the 1942 premiere of Sergey Prokofiev's Piano Sonata No. 6 -- the composer's first work in that form for years, and the first one he did not premiere himself. This resulted in wild acclaim for both performer and composer. Thereafter, Richter was a great proponent of Prokofiev's music, premiering also the Seventh and the Ninth Sonatas, the latter of which is dedicated to him. Though word of Richter's excellence (and occasional poor-quality recordings) had spread outside of Russia, his foreign engagements were limited to Eastern Bloc countries (and, in one case, China) where Soviet officials felt there was reduced risk of defection. However, his 1958 performance of Prokofiev's Fifth Piano Concerto with the Philadelphia Orchestra (on tour in Leningrad) generated such excitement that he was finally permitted to tour the United States, further bolstering his reputation as a virtuoso. Engagements in all of world's musical centers followed. Richter was known as a pianist of transcendent abilities, particularly adept at highlighting the nuances of different styles. Though his interests focused primarily on music of Beethoven, and Prokofiev, he was also highly regarded for his Schubert, Schumann, Bach, Debussy, and Ravel; and in the early 1960s he made a memorable recording of Benjamin Britten's Piano Concerto with the composer conducting. Richter did not favor studio recordings; therefore, most of his recordings are from live performances. Many of them, particularly those from Soviet concerts, suffer from indifferent sound quality and excessive audience noise, but his playing had an electric quality that transcended these handicaps. The pianist earned a reputation for being difficult and aloof. He was notoriously apt to cancel performances on whims, or arrive late without explanation or apology. However, those who heard him were rarely disappointed. He preferred intimate concert settings over big auditoriums, and thus returned many times to the Aldeburgh and Spoleto Festivals. He was the centerpiece of the Fêtes Musicales, held annually beginning in 1964 at Grange de Meslay, near Tours. Among his greatest recordings are his Schubert sonatas, Rachmaninov and Prokofiev concertos, Liszt concertos (these have the benefits of first-rate sound), and his Schumann. He has also served as a chamber musician and accompanist, playing piano duets with Britten, and accompanying Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau, among others.
© All Music Guide /TiVo
Meine Suche verfeinern
Instrumentalmusik - Erschienen am 25. April 2011 | Les Indispensables de Diapason
Klassik - Erschienen am 1. Januar 2000 | Decca Music Group Ltd.
Klassik - Erschienen am 14. Januar 2014 | Parnassus
Klassik - Erschienen am 19. Mai 2017 | Divox
Klassik - Erschienen am 14. Oktober 2014 | Musical Concepts
Klaviersolo - Erschienen am 20. Mai 2016 | Parnassus
Klassik - Erschienen am 1. Januar 1959 | Deutsche Grammophon (DG)
Klassik - Erschienen am 30. Dezember 1991 | RCA Gold Seal
Klassik - Erschienen am 17. August 2018 | Profil
Klassik - Erschienen am 1. Januar 2009 | Deutsche Grammophon (DG)
Klassik - Erschienen am 18. Januar 2008 | Supraphon a.s.