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There is the score. Then there is the soul of music. We have all heard literal renderings where the notes are all correct but the soul of the music is missing. Horowitz said every time he played a piece it came out different because he was constantly searching for the soul of the piece. What makes Richter great? More often than not he goes deepest into the soul of the piece. People have said that Richter owned Pictures, but then Horowitz in his 1951 recording has a Great Gates that will make the hairs on the back of your neck stand up. But this is the exception that proves the rule. Sorry to be convoluted but that's life. |
Mahler123: Did NOT say greatest ev- ah. Greatest of the last century is what I wrote in the original post. Why ridiculous? You don't listen to every pianist isn't it so? You pick and choose which means you find some are better than others. Interesting is the reasons for our preferences illustrated by musical examples. The span of Richter's repertory and the depth is what sets him apart. Pollini Mozart Piano Concerto Number 23 And his mentor Michelangeli . Conducting is the wonderful Guilini. Michelangeli Beethoven Piano Concerto Number Three Responding to praise, Gilels once said Wait'll you hear Richter. Gould was another Richter fan. |
+1 on Gieseking, though it's a crime that Walter Legge recorded him on such blowsy, antiquated equipment. There are very few recordings that convey the glory of his tone. Also, I enjoy Trifonov a lot. But I confess that I don't "get" Richter. I don't know why. I have a good friend, a fellow audiophile who studied to be a classical pianist, who keeps up with the plethora of talented young pianists. I need to sit down with him sometime and help me understand what makes Richter so special. I don't doubt that he is, but as someone who is not a trained musician I feel that I'm missing something. |
And while we’re at it, are the Beatles better than Wayne Shorter? Seriously, though, I see the value of GOAT questions not so much as a ranking mechanism, which can get a bit too masturbatory for me, but rather as a way of learning from colleagues about great new resources. With that in mind, I have to mention Igor Levit, the increasingly popular Russian pianist who, despite being too current to fit into a larger perspective, is certainly up there with the best of the best. And if you read his bio & interviews, you’ll discover that he’s an interesting fellow to boot, on a personal level. Check out his performance on "Rhapsody on a Theme of Paganini" with the Wiener Philharmoniker (available as a Sony Blu-ray import, a PBS special, and a streaming video on Tidal). The first time I heard it, I cried -- and I’m hardly the type to cry easily. Less impressed with his Wagner transcriptions, but surprisingly, I find his Bach to be as nuanced as his Rachmaninoff. Igor may not be everybody’s "greatest", but IMHO is certainly worth seeking out. My 2c. |
At 83 Argerich maintains a vigorous concert schedule. She will play Beethoven's First Concerto in Berlin 24 thru 26 October 2024 accompanied by the Berliners and fellow Argentine Barenboim. After the break, it'll be Brahms Fourth. It will be fascinating to hear how each of the three performances differ. Pollini is increasingly frail. |
Greatest ever, or of a given time period, is ridiculous because this isn’t an athletic competition. I am not disputing any points you make about Richter, but I don’t know how to compare him vs Arrau, Pollini,Kempff, Casadesus, Michelangeli, Horowitz, Kapell, Argerich, Volodos, Kissin, Berman, and about 1000 other names that I could pull of great artists that had less well known careers . Part of Richter’s mystique was that he worked on the wrong side of the Iron Curtain. His releases to the West were sporadic, dependent upon the whims of the Kommisars. So his virtues were largely tantalizingly out of reach for decades. When the floodgates opened there were hundreds of recordings available. Many of them were from the dog and pony show life that Richter favored, driving around the byways of France with an upright in the UHaul, stopping in a small venue on a whim, having an impromptu concert. A “happening “. It would have been really cool to be having a glass of wine in a courtyard in a small village in Provence and have his merry caravan suddenly pop up, but many of these recordings were made with out of tune pianos with mikes stuck God Knows Where (he was notorious for not wanting to be bothered by recording apparatus). The sheer ubiquity of these one offs dulled the luster for me, a bit, especially as he was audibly past his prime-but still pretty awesome. So I am not disputing his stature, as as a recorded artist, I don’t know how to rank him vs fearsome competition, nor I do I wish to even consider it a competition |
I agree and suggest a more effective way to get around the competitive "My guy is better than your guy" dynamic would be to ask a different question: "Who are some of your favorite classical pianists and why?" Or, "Who are some of your favorite interpreters of Chopin Nocturnes and why?" My 2 cents. |
Yeah, each pianist has his/her strengths and weaknesses. One performer could maybe excel at interpretations of one composer, but no more. Comparing Richter and Horowitz is like comparing apples and oranges: Richter was an enemy of the Soviet state, and was adamantly independent, with very strong and unique interpretations: his dad was killed by the KGB, and he was not allowed to leave the confines of his province until very late in life; Horowitz was the darling of the bureaucrats, and was given all the privileges of the Soviet state throughout his life, including travels to America; consequently, Horowitz was comparatively pedestrian, but could hit all the right notes right on time, smooth as silk, as fast as anyone, but with no real feeling. |
“Horowitz was comparatively pedestrian, but could hit all the right notes right on time, smooth as silk, as fast as anyone, but with no real feeling” The greatness of Horowitz was not only that he “could hit all the right notes right on time, smooth as silk, as fast as anyone…” but that he was a supreme colorist whose phrasing and understanding of the human condition was unparalleled in my view. Listen to the Schumann “Traumerei” performed in his “Horowitz in Moscow” concert and check out the visuals of the audience to know what I’m talking about. |
For a band member, Terry Adams of NRBQ.