Frederic Chopin(1810-1849)
       Barcarolle, Op.60

Sviatoslav Richter
Doremi 7724
Recorded 1977
Companion Works:
Four Scherzos
Poloniase-Fantaisie Op.61
Waltzes Op.34(nos.1 thru 3)
Mazurkas Op.63/3, 67/3, 68/3 & Op. Posth no.2
TT 78:52

Summary: An intimate version - the best of its type.

This is *not* the same Richter performance as on his BBC disc that I
reviewed in Part 1.  That performance took place at the Royal Festival
Hall in London on July 10, 1961.  The Doremi live performance is from
Salzburg on August 26, 1977.

Recapping a little, although I did feel that the BBC performance was an
exceptional one, the sound was so recessed that I could not place the
version among the best on record.  The sound from Salzburg is no better
and might be a little worse; piano tone gets gobbled up by the cavernous
soundstage at high volumes.

When I'm experiencing major sound hindrances, it's definitely time for
my equalizer to intervene.  As it happens, I was able to locate settings
that allowed for greater volume without damaging piano tone.  This doesn't
give the Doremi an unfair advantage, because the BBC sound also much
improves with intervention.

Richter's legendary status, particularly for those not very familiar
with his playing, often tends toward notions of command and power which
leads the unfamilar to assume that Richter plays loudly.  That is an
assumption that is way off base.  Richter's power comes from emotional
investment and total command of all the micro-elements of Intonatsia
which simplisticly is based on the conveying of the composer's psychology
through the score and by the technical means available to the performer.
As an example, even a low volume can not dampen the compelling nature
of either Richter version; his articulation, phrasing, inflections, and
intervals insure strong interest as the tension and tenderness of the
readings hook me every time.

Having said the above, I do prefer performances of the Barcarolle which
have a more public demeanor than Richter's.  I'd say that in both versions,
particularly the Doremi, Richter offers an intimate portrait.  Given the
approach, nobody does it better than Richter, and those of you who do
not place high priority on the 'big event' might well find Richter your
favorite representative(discounting the sound).

Don's Conclusions: Both Richter versions are intimate and splendid with
sound of far lesser quality.  These are not 'must' performances for
myself, but those favoring the poetic Chopin should have at least one
Richter interpretation.  However, think twice if all you have are basic
treble and bass controls.

Don Satz
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