Sviatoslav Richter

BBC Legends: BBCL40102

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Sviatoslav Richter

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Sviatoslav Richter


Piano Sonata No. 9 in B major, D575

Piano Sonata No. 11 in F minor, D625

Piano Sonata No. 13 in A major, D664

Moments Musicaux, D780: No. 1 in C

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Franz Schubert: Piano Sonata No. 9 in B major, Op. 147, D. 575

I. Allegro ma non troppo

II. Andante

III. Scherzo: Allegretto

IV. Allegro giusto

Franz Schubert: Piano Sonata No. 12 in F minor, D. 625

I. Allegro

II. Scherzo: Allegretto - Trio

III. Adagio (D. 505)

IV. Allegro

Franz Schubert: Piano Sonata No. 13 in A major, Op. 120, D. 664

I. Allegro moderato

II. Andante

III. Allegro

Franz Schubert: 6 Moments musicaux, Op. 94, D. 780

6 Moments musicaux, Op. 94, D. 780: No. 1 in C major: Moderato

Gramophone Classical Music Guide


“Richter's Schubert is simply in a class of its own. No pianist did more to overturn the traditional view of the composer as a blithe, unreflecting child of nature. And in this Festival Hall recital three sonatas from 1817-19 unfold with a grandeur of conception, a spirituality and a stoical timelessness that were unique to Richter. The first two movements of the A major Sonata are, on the face of it, implausibly slow: but with his mesmeric, self-communing intensity Richter convinces you for the duration of the performance that no other way is admissable. Phrases, paragraphs are shaped with calm inevitability, underpinned by the sublime, luminous simplicity of Richter's cantabile; and no pianist is more sensitive to Schubert's magical harmonic strokes or understands more surely their place in the larger scheme. As Richter conceives them, the first two movements of the A major, D664, foreshadow the rapt, philosophical contemplation of the late G major and B flat Sonatas, D894 and D960; and even the finale, projected with Richter's characteristic mastery and subtlety of rhythm, has something rarefied in its playfulness. Richter is equally lofty and far-sighted in the two lesser-known sonatas.
The BBC recording, while perhaps a shade bass-light, is warm, and does ample justice to Richter's vast dynamic and tonal palette. A bronchial March audience can intrude at the start of tracks, especially in finales. But no matter.
All but those terminally resistant to Richter's uniquely introspective, long-spanned view of the composer should acquire as a matter of urgency these visionary performances by one of the greatest Schubertians of the century.”

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