鋼琴家李希特(Richter)

就這樣消磨了一個週日早晨...
我覺得這樣很好玩...把李希特演奏的作曲家都聽個一遍(後來只選了13位)...
雖然曲子我是亂選的...不一定是那個作曲家的代表作...
無妨...隨機隨緣聽聽唄...享受一下不同的感覺...
若是認真點...有很多方法可以排序...
譬如作曲家的年代...啊..此時不要這麼認真...懶惰或者精力不夠

Sviatoslav Richter ( March 7, 1915 – August 1, 1997)俄國鋼琴家..
當我大略看了維基百科的簡介之後...ㄟ...他居然演出80幾個作曲家的作品(所以我還是選以下的曲子就好囉...再下去...這篇日誌會爆掉...呵)
晚年還一直學習新的作曲家的曲目...ㄟ...這個人的生活過得太美妙了...找到自己所鍾情..永遠學習...永遠演出...永遠從中取得快樂...
但他不喜歡事先計畫的音樂會...哈...
http://en.wikipedia.org/wiki/Sviatoslav_Richter


1*Richter plays Chopin Revolutionary Etude 蕭邦 片子有點老..不知道是何時演奏的影片
http://www.youtube.com/watch?v=8hOKcdZJJFU

2*Richter plays Prokofiev Sonate No. 2: Part 1 音樂長達10分鐘(我承認我沒那麼喜歡普羅高菲夫的作品)
http://www.youtube.com/watch?v=ExNZZ1qxTk8&NR=1&feature=fvwp

3*Richter - Brahms 2nd concerto 我喜歡布拉姆斯
http://www.youtube.com/watch?v=gXgMJhqhvjg&feature=related

4*Richter plays Beethoven Bagatelle in G major, Op. 126 貝多芬 3分31秒
http://www.youtube.com/watch?v=0u-JtlYhtmY&NR=1
讀者評論說自從70年代他開始聽李希特演奏之後就喜愛至今...他認為李希特投入演奏中...讓人跟作曲家感到很親...
One of the rare artists who puts himself so much into the music that you feel closer to the composer. Have loved his recordings since first hearing him in the 70s.

5*Sviatoslav Richter - Mozart piano concerto no.5 (1st movt) 9分21秒 莫札特有種奇妙的輕快...不由得讓人想哼唱(大約在3分左右的前後...還有6分到7分鐘之間)
http://www.youtube.com/watch?v=9xvZwn0JtLU&feature=related

6*Richter plays Bach's concerto in D minor 2nd mov 9分11秒 4分鐘以後有比較甜美的部份 前面的確比較莊重沒讓人那麼喜歡聽 但我非常喜歡巴哈的無伴奏大提琴
at the Moscow Conservatory (Oleg Kogan plays 1st violin)
http://www.youtube.com/watch?v=qCDlhLE-uZk&NR=1

7*Brandenburg Concerto No. 5 - Sviatoslav Richter 1/3 9分26秒 音樂在3分半時開始...這是巴哈音樂中可親的布蘭登堡協奏曲...
http://www.youtube.com/watch?v=R0YAd88havQ&NR=1

8*Sviatoslav Richter - Franz Schubert: Piano Sonata D. 960 1/6 舒伯特 不過後半段我跑去淋浴了 所以沒聽道整首
http://www.youtube.com/watch?v=0SdGrAXetDQ

9*Sviatoslav Richter plays Rachmaninoff Concerto No. 2 (1/6) 拉赫曼尼羅夫..這首曲子有特別的厚度..所以鋼琴沒那麼重要的感覺..1959年的錄音ㄛ
http://www.youtube.com/watch?v=7_suu2h2AQU

Sergei Rachmaninoff: Piano Concerto No. 2, Op. 18 1. Moderato Recording 1959, Conductor - Sanderling

10*Sviatoslav Richter plays Schumann Sonata No. 2 Op. 22 (2/2) 舒曼
http://www.youtube.com/watch?v=G0Owu8Wq7vk&p=722722C460614CAC&playnext=1&index=50

11*Sviatoslav Richter plays Franck 這是我不太熟的作曲家 法國近代音樂之父法朗克-【Cesar Franck] 還有我最搞不懂賦格...
http://www.youtube.com/watch?v=hMQWGc_OVkQ
Cesar Auguste Franck, Prelude, Chorale And Fugue III - Fugue

12*Sviatoslav Richter - Mendelssohn Variations Serieuses op. 54 孟德爾頌
http://www.youtube.com/watch?v=n1UUn8DQqxs&feature=related

13*Sviatoslav Richter plays Debussy "Suite Bergamasque" (1/2) 德布西
http://www.youtube.com/watch?v=7I2msVAMZRU

Repertoire
As Richter once put it, "My repertory runs to around eighty different programs, not counting chamber works." Indeed, Richter's repertoire ranged from Handel and Bach to
Szymanowski, Berg, Webern, Stravinsky, Bartók, Hindemith, Britten, and Gershwin, although the works he did not play are curious (they include Bach's Goldberg Variations,
Beethoven's Waldstein and Moonlight sonatas and Fourth and Fifth piano concertos, Schubert's A-major sonata D. 959, Prokofiev's Third piano concerto, and Rachmaninoff's Piano
Concerto No. 3).
Richter worked tirelessly to learn new pieces. For instance, in the late 1980s, he learned Brahms's Paganini and Handel variations and in the 1990s, he learned several of
Debussy's etudes, piano concertos by Saint-Saëns, Gershwin, Mozart, as well as works by Bach and Mozart which he had not previously included in his programs.
Central to his repertoire were the works of Franz Schubert, Robert Schumann, Ludwig van Beethoven, J. S. Bach, Frédéric Chopin, Franz Liszt, Sergei Prokofiev, Claude Debussy
and many others. He is said to have learned the second book of Bach's Well-Tempered Clavier by heart in one month.
He gave the premiere of Prokofiev's Sonata No. 7, which he learned in four days, and No. 9, which Prokofiev dedicated to Richter. Apart from his solo career, he also performed
chamber music with partners such as Mstislav Rostropovich, Rudolf Barshai, David Oistrakh, Oleg Kagan, Yuri Bashmet, Natalia Gutman, Zoltán Kocsis, Elisabeth Leonskaja,
Benjamin Britten and members of the Borodin String Quartet. Richter also often accompanied singers such as Dietrich Fischer-Dieskau, Peter Schreier, Galina Pisarenko and his
long-time companion Nina Dorliak.
Richter also conducted the premiere of Prokofiev's Symphony-Concerto for cello and orchestra. This was his sole appearance as a conductor. The soloist was Rostropovich, to whom
the work was dedicated. Prokofiev also wrote his 1949 Cello Sonata in C for Rostropovich, and he and Richter premiered it in 1950. Richter himself was a passable cellist, and
Rostropovich was a good pianist; at one concert in Moscow at which he accompanied Rostropovich on the piano, they exchanged instruments for part of the program.

Approach to performance
Richter explained his approach to performance as follows: "The interpreter is really an executant, carrying out the composer's intentions to the letter. He doesn't add anything
that isn't already in the work. If he is talented, he allows us to glimpse the truth of the work that is in itself a thing of genius and that is reflected in him. He shouldn't
dominate the music, but should dissolve into it." Or, similarly: "I am not a complete idiot, but whether from weakness or laziness have no talent for thinking. I know only
how to reflect: I am a mirror . . . Logic does not exist for me. I float on the waves of art and life and never really know how to distinguish what belongs to the one or the
other or what is common to both. Life unfolds for me like a theatre presenting a sequence of somewhat unreal sentiments; while the things of art are real to me and go straight
to my heart."
Richter's belief that musicians should "carry ... out the composer's intentions to the letter", led him to be critical of others and, most often, himself. After attending a
recital of Murray Perahia, where Perahia performed Chopin's Third Piano Sonata without observing the first movement repeat, Richter asked him backstage to explain the
omission.Similarly, after Richter realized that he had been playing a wrong note in Bach's Italian Concerto for decades, he insisted that the following disclaimer/apology
be printed on a CD containing a performance thereof: "Just now Sviatoslav Richter realized, much to his regret, that he always made a mistake in the third measure before the
end of the second part of the 'Italian Concerto'. As a matter of fact, through forty years -- and no musician or technician ever pointed it out to him -- he played 'F-sharp'
rather than 'F'. The same mistake can be found in the previous recording made by Maestro Richter in the fifties."

Glenn Gould called Richter one of "the most powerful musical communicators of our time".
Pierre Boulez wrote of Richter: "His personality was greater than the possibilities offered to him by the piano, broader than the very concept of complete mastery of the instrument."