Sviatoslav Richter & Kirill Kondrashin -《李斯特：第一、二钢琴协奏曲》(Liszt: Piano Concerto Nos. 1 and 2, etc.)BBC Legends[APE]
发行公司： BBC Music
李斯特(1811~1886)是当时最有魅力的演奏家，也是最复杂、最世故的人物，被当代人士视为浮士德与魔鬼的化身。他终其一生未婚，但曾与许多女人同居，包括达古尔特伯爵夫人(Countess Marie d’Agoult)、莎恩薇根丝坦公主、杜普蕾西丝(Marie Duplessis)。他终身信仰天主教，在1865年接受教会的四项圣职，从此便被众人称为李斯特神父。
Intellect, Imagination and Nobility
"... The hottest news in the arts at this time, certainly in England, was the first visit of Sviatoslav Richter. Until his spectacular American tour in the latter part of 1960 he had not appeared in the West. Yet his reputation preceded him. During their Russian visit in 1958 the Philadelphia Orchestra had accompanied him in Prokofiev's Fifth Concerto, and they had returned with stories of his prowess. His fame had also spread thanks to a number of sensational recordings. He had played in Paris in March 1960 but had cried off his London concerts scheduled for that month, apparently on doctors' orders (this just hours before booking opened, to the mixed chagrin and relief of impressario Victor Hochhauser).
That cancellation only increased the sense of anticipation. In <The Musical Times> the veteran pianist and pedagogue Harold Craxton observed, "Nothing I can remember during the lasty fifty years is in any way comparable. Such intense anticipation and anxious awaiting for the new artist -- queues through the night and day at the box-office, and all seats sold at prices far higher than usual." Richter's July 1961 London appearances were sold out on the day booking opened, and programme books hailed him as the greatest living pianist..."
-- David Fanning (booklet notes)
Sviatoslav Richter at his most energetic and thrilling in a live recording from the Albert Hall, let down only by less than perfect BBC sound
For all sorts of reasons Richter's London debut concerts in July 1961 were the sensation of the season - a season in which the Liszt piano concertos at the Royal Albert Hall were the climax. It's possible to understand why reviewers found Richter's sculpted Chopin two days earlier not entirely to their taste, accustomed as they were to more heart-on-sleeve poetic approaches. Yet today his Andante spianato seems a marvel of sustained singing line, and the Grande polonaise concludes in a flourish of noble phrasing, greeted by torrents of applause.
It's immediately obvious why the Liszt concertos had the critics reaching for their superlatives. The vehemence of the opening bars of the E flat is already enough to set most spines tingling, and by the end of the A major the adrenalin count is off the scale. Hardly a phrase in either concerto is not delivered at white heat, and some are right at the edge of Richter's grasp, if not fractionally beyond it. Nothing is ever predictable, yet somehow there's a sense of inevitability about the whole thing. 'One might well believe that Liszt had written his piano concertos with Richter in mind, 'was Donald Mitchell's spot-on assessment in The Daily Telegraph. And Kondrashin is the joint hero, constantly goading his soloist and orchestra on to new heights.
The Hungarian Fantasia makes the perfect encore, not least because it is one of the few concertante pieces which actually sound better with a slightly detuned piano. The quasi-cimbalom effects combine with fabulous rhythmic poise to produce irresistible excitement.
Allowances have to be made for the recorded sound. The soft piano treble has a satisfying bloom to it, but the bass growls somewhat, and there's not much depth or breadth to the orchestral panorama. Solos are miked very close by today's standards. Only in this respect, however, do the Liszt concertos yield to the famous Philips studio versions, made a little later during the same London visit, and the atmosphere of the live event more than compensates. The BBC booklet-note is mine, but in case anyone is wondering, I get no percentage on sales.'
-- David Fanning (Gramophone 4/2000)
1. Chopin - Op. 22, I in G major. Andante spianato. Tranquillo -
2. II in E major. Polonaise. Allegro molto
3. Liszt - Piano Concerto No. 1 in E-flat major, S. 124, I Allegro maestoso
4. II Quasi adagio - Allegretto vivace - Allegro animato
5. III Allegro marziale animato - Presto
6. Liszt - Piano Concerto No. 2 in A major, S. 125, Adagio sostenuto assai - Allegro agitato assai -
7. - Allegro moderato - Allegro deciso -
8. - Marziale un poco meno allegro -
9. - Allegro animato - Stretto (molto accelerando)
10. Liszt - Hungarian Fantasia, S. 123