Richter KГјnstler

Richter KГјnstler Стихи 80-х -- 90-х годов:

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In the early s Richter became interested in music as well as other art forms such as cinema, literature, and theatre and started studying piano.

Unusually, he was largely self-taught. His father gave him only a basic education in music, as did one of his father's pupils, a Czech harpist.

Even at an early age, Richter was an excellent sight-reader and regularly practised with local opera and ballet companies.

He developed a lifelong passion for opera, vocal and chamber music that found its full expression in the festivals he established in La Grange de Meslay, France, and in Moscow, at the Pushkin Museum.

At age 15, he started to work at the Odessa Opera , where he accompanied the rehearsals. On March 19, , Richter gave his first recital, at the Engineers' Club of Odessa ; but he did not formally start studying piano until three years later, when he decided to seek out Heinrich Neuhaus , a famous pianist and piano teacher, at the Moscow Conservatory.

Although Neuhaus taught many great pianists, including Emil Gilels and Radu Lupu , it is said that he considered Richter to be "the genius pupil, for whom he had been waiting all his life," while acknowledging that he taught Richter "almost nothing.

Early in his career, Richter also tried his hand at composing, and it even appears that he played some of his compositions during his audition for Neuhaus.

He gave up composition shortly after moving to Moscow. Years later, Richter explained this decision as follows: "Perhaps the best way I can put it is that I see no point in adding to all the bad music in the world".

By the beginning of World War II, Richter's parents' marriage had failed and his mother had fallen in love with another man. Because Richter's father was a German, he was under suspicion by the authorities and a plan was made for the family to flee the country.

Due to her romantic involvement, his mother did not want to leave and so they remained in Odessa. In August his father was arrested and later found guilty of espionage, being sentenced to death on 6 October Richter didn't speak to his mother again until shortly before her death nearly 20 years later in connection with his first US tour.

In Richter met Nina Dorliak , an operatic soprano. He noticed Dorliak during the memorial service for Vladimir Nemirovich-Danchenko , caught up with her at the street and suggested to accompany her in recital.

In they got married and remained companions until Richter's death. They had no children. She supported him in his last sickness, and died herself a few months later, on May 17, It was rumored that Richter was homosexual and that having a female companion provided a social front for his sexual orientation, because homosexuality was still widely seen as strongly taboo and could result in legal repercussions.

He never publicly discussed his personal life until, in the last year of his life, filmmaker Bruno Monsaingeon convinced him to be interviewed for a documentary.

He gave his first concerts outside the Soviet Union in Czechoslovakia in The title role was played by Boris Smirnov.

On February 18, , Richter made his sole appearance as a conductor in the world premiere of Prokofiev's Symphony-Concerto for Cello and Orchestra in E minor, with Mstislav Rostropovich as the soloist.

In , even though he had a reputation for being "indifferent" to politics, Richter defied the authorities when he performed at Boris Pasternak 's funeral.

In , Richter gave recitals in Budapest , Hungary. In , he again toured Czechoslovakia, then in , he toured China , then again performed in Prague, Sofia , and Warsaw.

Thus the West first became aware of Richter through recordings made in the s. One of Richter's first advocates in the West was Emil Gilels , who stated during his first tour of the United States that the critics who were giving Gilels rave reviews should "wait until you hear Richter.

Richter's first concerts in the West took place in May , when he was allowed to play in Finland, and on October 15, , in Chicago, where he played Brahms 's 2nd Piano Concerto accompanied by the Chicago Symphony Orchestra and Erich Leinsdorf , creating a sensation.

In a review, noted Chicago Tribune music critic Claudia Cassidy , who was known for her unkind reviews of established artists, recalled Richter first walking on stage hesitantly, looking vulnerable as if about to be "devoured" , but then sitting at the piano and dispatching "the performance of a lifetime".

Richter disliked performing in the United States. In , Richter played for the first time in London. His first recital, pairing works of Haydn and Prokofiev , was received with hostility by British critics.

Notably, Neville Cardus concluded that Richter's playing was "provincial", and wondered why Richter had been invited to play in London, given that London had plenty of "second class" pianists of its own.

Following a July 18, , concert, where Richter performed both of Liszt 's piano concertos, the critics reversed course. In , after searching in the Loire Valley, France, for a venue suitable for a music festival, Richter discovered La Grange de Meslay, several kilometres north of Tours.

The festival was established by Richter and became an annual event. In , Richter visited Japan for the first time, traveling across Siberia by railway and ship as he disliked flying.

He visited Japan eight times. While he very much enjoyed performing for an audience, Richter hated planning concerts years in advance, and in later life took to playing at very short notice in small, most often darkened halls, with only a small lamp lighting the score.

Richter said that this setting helped the audience focus on the music being performed, rather than on extraneous and irrelevant matters such as the performer's grimaces and gestures.

In Richter initiated the international musical festival December nights , held in the Pushkin Museum , which after his death in was renamed December Nights of Sviatoslav Richter.

In , Richter embarked on a six-month tour of Siberia with his beloved Yamaha piano, giving perhaps recitals, at times performing in small towns that did not even have a concert hall.

It is said that after one such concert, the members of the audience, who had never before heard classical music performed, gathered in the middle of the hall and started swaying from side to side to celebrate the performer.

An anecdote illustrates Richter's approach to performance in the last decade of his life. After reading a biography of Charlemagne he was an avid reader , Richter had his secretary send a telegram to the director of the theater in Aachen , Charlemagne's favoured residence city and his burial place, stating "The Maestro has read a biography of Charlemagne and would like to play at Aquisgrana Aachen ".

The performance took place shortly thereafter. Richter's last recorded orchestral performance was of three Mozart concerti in with the Japan Shinsei Symphony Orchestra conducted by his old friend Rudolf Barshai.

Richter's last recital was a private gathering in Lübeck , Germany, on March 30, The program consisted of two Haydn sonatas and Reger 's Variations and Fugue on a Theme by Beethoven , a piece for two pianos, which Richter performed with pianist Andreas Lucewicz.

He had been suffering from depression due to an inability to perform caused by changes in his hearing that altered his perception of pitch.

As Richter once put it, "My repertory runs to around eighty different programs, not counting chamber works.

Richter worked tirelessly to learn new pieces. Central to his repertoire were the works of Schubert, Schumann , Beethoven, J.

Bach, Chopin, Liszt, Prokofiev and Debussy. He gave the premiere of Prokofiev's Sonata No. 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 Cello Sonata in C for Rostropovich, and he and Richter premiered it in 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.

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. 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 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. Despite his large discography, Richter disliked the recording process, [41] and most of his recordings originate from live performances.

Despite his professed hatred for the studio, Richter took the recording process seriously. According to Falk Schwartz and John Berrie's article "Sviatoslav Richter — A Discography", [46] in the s Richter announced his intention of recording his complete solo repertoire "on some 50 discs".

That recording is still considered a landmark despite Richter's dissatisfaction with it , [47] as are his studio recordings of Schubert's Wanderer Fantasy , Liszt's two Piano Concertos, Rachmaninoff's Second Piano Concerto and Schumann's Toccata, among many others.

The Italian critic Piero Rattalino has asserted that the only pianists comparable to Richter in the history of piano performance were Franz Liszt and Ferruccio Busoni.

Glenn Gould called Richter "one of the most powerful communicators the world of music has produced in our time". Nathan Milstein described Richter in his memoir "From Russia to the West" as the following: "Richter was certainly a marvelous pianist but not as impeccable as he was reputed to be.

His music making was too dry for me. In Richter's interpretation of Ravel 's Jeux d'eau , instead of flowing water you hear frozen icicles.

Van Cliburn attended a Richter recital in in the Soviet Union. According to Richter, this interrogation took place in early February After several years in prisoner-of-war camps in the Soviet Union , Richter was tried and convicted of war crimes in He was transferred to Western Germany in Preparations for Richter's trial began in Germany in , but the trial did not begin until December The basis for Richter's conviction was the plan, signed by him, to deport Romanian Jewry to Belzec.

In early , Richter was sentenced to four years of imprisonment but was released on the basis that he had already spent time in prison whilst in the Soviet Union.

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