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Sviatoslav Richter on Music and Musicians
It was only when I learnt Bach’s 48 Preludes and Fugues by heart that
I sensed the full delight and richness of his music.
Most of all I love [Beethoven’s] Piano Concerto No. 1. When I hear an
orchestra performing it, I am overwhelmed by a feeling quite unlike anything else, as if something radiant and beautiful had opened up before me.
I am very fond of Beethoven’s early sonatas. They are so fresh, bold and full
of youth, so direct and uniquely individual.
It always seems to be night time in the Apassionata. You can sense nightfall,
the stars shining, and something cosmic (in the finale) – voices communing
in space.
The first major composition by Schubert I played, still as a student, was the
‘Wanderer’ Fantasia. [Richter was a wanderer by nature, not only in the geographical space of his concert tours]. I travel through the sonatas. Away from
Bach, then back to him. This explains why Schubert’s ‘Wanderer’ is my
favourite work, my guiding star.
Chopin should be played to sound unexpected, then it will be good.
Schumann’s Fantasia is a very precious work; it is not just important, but
inexhaustible. There is nothing else like it.
The Liszt sonata is a whole world in itself; if Liszt had written nothing else,
he would still be a genius.
I have always had a great love of Wagner. For me Wagner has the talent of
a Shakespeare. This love of Wagner comes from my father.
I am very fond of Rimsky [Rimsky-Korsakov]. He may be rather cold,
straightforward and clear, but I always find him moving, pure. His coolness
has a charm of its own.
The Scriabin sonatas I like most are Five, Six and Nine. ‘There’s a composer
for you!’ I have often heard people say in different countries.
Szymanowsky is now appreciated more and more. In some respects he is
even higher than Strauss, a finer aristocratic breed! But Strauss is more
powerful, perhaps.
How hard it is to play Rachmaninov! The more time I spend on the preludes, the harder they become. The complexity lies in the very fabric, the
associations...
Debussy is nature itself. Infinitely diverse, sophisticated and simple at the
same time. But how difficult this simplicity is to attain!
I first heard of the [Prokofiev’s] Piano Sonata No. 9 from the composer himself, when he had only just drafted it. I played it at the Composers’ Union, at
an evening in honour of Prokofiev’s sixtieth birthday in spring 1951. Now I
like it more and more.
I have always admired his [Shostakovich’s] powerful sense of the tragic. His
Eighth Symphony in particular. It is one of the finest works of our age and
together with the Fifth shows Shostakovich at his height.
Hindemith is not just a great master, but a major composer, still underrated.
Britten’s Piano Concerto is a pleasure to play. It may be dominated by the
external element, but I am very fond of it, particularly the third movement.
And I like a lot in the finale as well.
I have played duets with Britten several times at Aldeburgh festival concerts.
Mostly Schubert, his Grand Rondo, Variations and Fantasia. I usually played
the top part, but I did the pedalling. I couldn’t trust that to anyone else.
Stockhausen is an interesting, inventive musician. But experimental rather
than profound. I feel closer to Boulez, he has more content. I like Beriot too.
And I’m getting increasingly fond of Lutoslavsky.
Extracts from Richter’s «Autobiographical confessions»
in Ya. I. Milstein’s book Questions of the theory and
history of performance
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Sviatoslav Richter International Piano Competition
Bolshaya Nikitskaya str., 46/17, bld.1,
Moscow 121069, Russia
phone +7 (095) 290-56-32
phone/fax: +7 (095) 291-46-72
info@richtercompetition.com
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