Sviatoslov Richter
  Concert Piano Recital

Robert Schumann.....Bunte Blatter,Op.99
Modest Mussorgsky...Pictures at an Exhibition
Claude Debussy......Cloches a travers les feuilles

Sviatoslav Richter, Piano
BBC Legends 4103
Recorded Goldsmith's Hall, London, 1968
TT 72:15

Bunte Blatter Comparison - Varjon/Naxos

In Part 1, I indicated that Sviatoslav Richter was the sole famous
pianist who had a recording on the market of Schumann's Bunte Blatter.
That recording was on Olympia, but I never was able to obtain it.  Thanks
to this recent BBC Legends disc, I can now offer my opinions on Richter's
way with the work.  My primary comparative version is from Denes Varjon
on Naxos; his performances are splendid and my favorites up to this point
with the caveat that the recorded competition is not staggering.

Although Varjon's readings are exemplary, Richter generally comes up
with the more compelling interpretations.  One major advantage Richter
possesses is the greater urgency he injects into the music through his
churning lower voices; a fine example is the desperate 2nd Movement where
Richter's fire from below makes for a thrilling listening experience.
Another advantage is Richter's exceptional command and majesty which is
on full display in the ceremonial 3rd Movement.

Incisive articulation and inflections are a Richter trademark, and he
cuts to the heart in the 4th Movement; Varjon simply can't compete with
such stunning emotional depth.  A like disparity takes place in the 9th
Movement where Richter gives the second section such full-body swirling
and churning that he transports me to a ship on the stormy seas.  Although
Varjon's 10th Movement is a tower of strength and activity, he must yield
to Richter whose lower voices offer a granite-like foundation and a level
of tension which can't be penetrated.

The 11th Movement is one of the best in the work, and both Richter and
Varjon are exceptional in this eight-minute march.  The first section
is a trudge through thick snow, while the second section becomes youthful
and almost care-free; the contrasts are bewitching.

Richter also scores over Varjon in the 12th Movement which is a delicate
and delightful creation.  Richter's playful nature is exhilarating, and
Varjon seems stodgy in comparison.

There are two exceptions to Richter's superiority.  In the 1st Movement,
I prefer the slower Varjon pacing which allows for enhanced poignancy.
The other exception is a major one - Richter's sound has a slight but
persistent 'breaking' quality which makes clarity impossible to achieve.
With bass response transparent as mud, the problem becomes exacerbated.
Varjon's sound is not state of the art, but it easily surpasses the
quality of Richter's recording.  So, Richter's are the better performances,
but do be cognizant of sound quality issues.  Varjon is an excellent
selection, and I shouldn't overlook the excellent recording by Egorov
on EMI.  If you get these three, you need no others.

Don's Conclusions: This is the final Part of my Bunte Blatter review
project.  If modern sound is important to you, the Varjon on Naxos or
the Egorov on EMI are most strongly recommended.  However, performance
standards alone easily support Richter's version as the one to have.
As for the remainder of the disc, I'll be reviewing quite a few piano
versions of the Mussorgsky at a future date; Richter's Sofia performance
on Philips is generally considered the best on the market.

Getting back to the Bunte Blatter, I must admit that it is not the best
that Schumann has to offer.  However, the music is lovely and compelling
to the point where every piano maven should have at least one version
of the work.  From my perspective, Richter runs away with the honors.

Future reviews in the works include surveys of recordings for the following
Schumann works: Symphonic Etudes, Carnaval, Papillons, Arabeske, Fantasy
in C, Kreisleriana, and the three piano sonatas.

I am also in the process of digging into the Liszt Hungarian Rhapsodies,
Transcendental Etudes, and the Annees de Pelerinage.  Just a few years
ago, I wouldn't touch Mr.  Liszt, but my experiences with Scriabin's
piano music and the Russian theory of Intonatsia concerning intervals
and tension have given me a new perspective on Liszt's compositions.

More Chopin is on the way as well as a continuation of my Scriabin review
projects.  There's also piano music of Grieg, Janacek, Hahn, Prokofiev,
Alexandrov, and Rachmaninov waiting in the wings.  Chamber music reviews
of Leighton, Enescu, and Janacek are in the works as well as the symphonic
poems of Karlowicz.  Being routinely tardy, I also have to finish up the
reviews I started of the Goldberg Variations, Shostakovich String Quartets,
Zemlinsky String Quartets, and Handel's Suites for Keyboard.  This should
all keep me fairly busy and out of trouble for months(or years)to come.

Don Satz
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