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Sviatoslav Richter - Carnegie Hall 1960


Sviatoslav Richter Carnegie Hall 1960

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Sviatoslav Richter - Live at Carnegie Hall 1960

Classical | FLAC | 6 CDs | Covers & Notes | 1.5 Gb | Doremi | RS







For the past forty-five or so years the five Richter recitals given in Carnegie Hall in October 1960 have been perhaps the most sought after discs of the second half of the last century. Originally released in the LP format by Columbia AKA/ CBS, the LP’s proved to be short lived, soon vanishing from stores at which point, of course, demand takes over.



Richter, the last of the major Soviet artists of the era to be let out (Gilels, Oistrakh and Kogan preceded him) started his first North American tour recording the Brahms Concerto No. 2 with the Chicago Symphony, Reiner was scheduled to conduct but illness got in the way and Erich Leinsdorf was engaged at the last minute. Richter was not satisfied with the recording although many connoisseurs consider it the supreme recording of that concerto. Richter also had similar misgivings about the five October recitals that he presented at Carnegie Hall, claiming that the playing was well below his usual norm. The pressure on Mr. Richter must have been, given the extra musical issues, enormous, but in relistening to the five concerts I find only one serious miscallulation and that occours in the performance of the Schumann Fantasy from October 30 which quite frankly doesn’t hold a candle to his classic EMI performance from several months earlier (or later, memory eludes me on this). The Haydn, Schumann, Prokofiev, Beethoven, Debussy, Ravel, Scriabin, Rachmaninoff and some of the Chopin is pretty much in a league of it’s own.



I recommend that anyone with an interest in Richter or just great pianists explore these discs. Piano playing in concert at this level is rare and Richter certainly lives up to his many advance admirers.



As I wrote the notes for this set I have an interest in the project but at the same time can insure all that it was a labor or love. The notes were written gratis simply because of the complete worth of the project. I would also say that the material used for the recitals is light years of previous attempts.



Peter Schenkman





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