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Lectures on Numerical Methods in Bifurcation Problems
Methods for Finding Zeros in Polynomials
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Educational Psychology by Edward L. Thorndike
The Last Days of Tolstoy by V. G. Chertkov
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The Mathematics of Investment
Occupiers of Wall Street: Losers or Game Changers
The Solution of the Pyramid Problem
Lectures on Moduli of Curves
Walden by Henry David Thoreau
Methods for Finding Zeros in Polynomials
Lectures on Stochastic Flows and Applications
Educational Psychology by Edward L. Thorndike
The Last Days of Tolstoy by V. G. Chertkov
Globalization and Responsibility
Lectures on Siegel Modular Forms and Representation by Quadratic Forms
Lectures on Topics In One-Parameter Bifurcation Problems
History of the Incas by Pedro Sarmiento de Gamboa
Linear Algebra: Theorems and Applications
Lectures on Stochastic Differential Equations and Malliavin Calculus
A Short Biographical Dictionary of English Literature
Lectures on Sieve Methods and Prime Number Theory
Dollars and Sense by William Crosbie Hunter
The Theory of the Theatre by Clayton Hamilton
The Mathematics of Investment
Occupiers of Wall Street: Losers or Game Changers
The Solution of the Pyramid Problem
Lectures on Moduli of Curves
Walden by Henry David Thoreau
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Liszt: Piano Concertos; Beethoven: Piano Sonatas Nos. 10, 19 & 20 / Sviatoslav Richter, LSO & Kirill Kondrashin (2001)
Posted on 2010-10-23
|
More Classical | Label: Philips | Time: 70:09
Recordings of Liszt's concertos come and go, some of them making an impressive splash before they disappear without trace. But Richter's with Kondrashin endure, thanks to their combination of imperious pianism, inspirational conducting and shared instinctive musical understanding. All this rubs off on to the music, giving it the finest advocacy it has ever enjoyed, in word or deed. To Richter, of course, goes the lion's share of the praise, for his unmatched mastery of rhetoric and structure. So often he seems able to extract as much juice from a semiquaver as most other pianists from a crotchet. And by subordinating flashiness to nobility and control of phrasing he can release unparalleled adrenalin rushes when he finally cuts loose. I doubt whether the accelerando through the finale of the E flat Concerto has ever been better realized.Kondrashin, too, has been lavishly praised for his role, and with reason. He draws from the LSO playing of a fieriness to make Liszt's apparently corniest moments feel like authentic infernal visions. At the other extreme he has them dovetailing their phrases with the soloist like a dream, accepting minuscule imprecisions (as at the opening of the A major Concerto) for the sake of the greater poetic good. Whether the disc is more desirable with three Beethoven sonatas than with the Liszt Piano Sonata (the coupling on the Philips comparison), I would doubt. But the Beethoven recordings certainly show Richter on top form, placing each sonata in an expressive world of its own. Supplement either disc with Richter's and Kondrashin's live Liszt concertos, taken from the last of Richter's London début appearances in 1961, and you will have riches indeed; though I have to say the studio accounts are in many ways the more daring. == David Fanning |
Rating:
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