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Sviatoslav Richter The 20th century's most enigmatic genius of the piano. The Russian Richter was a true virtuoso, yet never used this virtuosity to any other end than to reveal the essential poetry of the music. Eccentic and temperamental his performance style was sober and controlled, and as a man he was modest and secretive.
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Prokofiev: Piano Sonata no.6 Praga PR 250 015 Beethoven: Sonata in F minor "Appassionata" Philips 456 949
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Born: 1915 Died: 1997
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One sometimes senses clearly that the whole work, however gigantic in scale, lies before him like a vast landscape, seen with incredible clarity as if with the eyes of a great hawk.
Heinrich Neuhaus, Richter's teacher.
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RICHTER IN ONE MINUTE |
- In 1937 Richter began his piano studies with Heinrich Neuhaus at the Moscow Conservatory - Neuhaus remembers there was little he needed to teach him
- In 1942 he premiered Prokofiev's 6th Piano Sonata, leading to a lasting friendship and performing partnership with the composer
- A highly independent spirit, Richter preferred to follow his own instincts rather than to learn from other pianists - as a result each of his performances became a new exploration of the work
- Not until 1960 was he finally allowed to travel abroad, making his US debut with the Chicago Symphony Orchestra and then 4 days later playing an all-Beethoven solo recital at Carnegie Hall - he was then in his forties
- Richter disliked recording sessions and would normally record during the night, preferring long takes and re-doing whole movements rather than small sections
- He performed and recorded a wide repertoire ranging from Bach and Haydn to Debussy and Shostakovich - for him, Beethoven's Hammerklavier and Shostakovich's Preludes and Fugues presented some of the greatest pianistic obstacles, as did Mozart
- Temperamental and moody he came to prefer smaller, more obscure venues - notorious for cancelling if he didn't feel right about the performance, his public appearances became all the more precious
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