Search - Bach, Mozart, Richter :: Concerto 3 7 & 25

Bach, Mozart, Richter
Concerto 3 7 & 25
Genre: Classical

Track Listings (9) - Disc #1
1. Concerto In D Major, BWV 1054: Allegro
2. Concerto In D Major, BWV 1054: Adagio e piano sempre
3. Concerto In D Major, BWV 1054: Allegro
4. Concerto G Minor, BWV 1058: Allegro
5. Concerto G Minor, BWV 1058: Andante
6. Concerto G Minor, BWV 1058: Allegro assai
7. Piano Concerto No.25 In F Major, K.503: Allegro maestoso
8. Piano Concerto No.25 In F Major, K.503: Andante
9. Piano Concerto No.25 In F Major, K.503: Allegretto

CD Details

All Artists: Bach, Mozart, Richter, Bashmet
Title: Concerto 3 7 & 25
Members Wishing: 0
Total Copies: 0
Label: Elektra / Wea
Release Date: 6/4/1996
Genre: Classical
Styles: Forms & Genres, Concertos, Historical Periods, Baroque (c.1600-1750), Classical (c.1770-1830), Modern, 20th, & 21st Century
Number of Discs: 1
SwapaCD Credits: 1
UPC: 745099424527

Synopsis

Amazon.com

Sviatoslav Richter was a genius, but when he was off, he was positively perverse. His charmless severity in the Mozart resembles Arturo Benedetti Michelangeli's similarly embalmed approach to this composer. Moreover, Richter's failure to provide a first movement cadenza where Mozart did not makes no stylistic sense. Neither does having a solo piano in Bach supported by an orchestra with harpsichord continuo. For confirmed Richter fanatics only. --Jed Distler

CD Reviews

Richter & Bach

havarogot | Bethesda ,Maryland USA | 01/12/2000

(5 out of 5 stars)

"While the most popular form of the 1058 is for violin in a minor,Richter gives us a rare beautiful recording of Bach's version of it for keyboard in g minor.There are differences which might offend some people. I found it another example of Richter's use of the full range of tone control on a modern piano. Bach has never sounded better.Having bought it for the g minor I enjoyed the rest.Richter rarely did Mozart that I can find and that was very interesting."

Fire Mr. Distler!

Scott Hickel | san diego | 12/09/2001

(5 out of 5 stars)

"Judging from the review Mr. Distler wrote of Messuers Richter and Rashmet there is no doubt he skipped "Bach's development of transcendental harmony 101," at the music conservatory he attended (a big presumption on my part). The unorthodox combination of harpsicord and orchestral support of the piano -at least in this instance- is the apotheosis of eloquent ravishment: orchestral grandeur coupled with baroque charm achieves a restrained beauty. Style's justification for existence is to set the parameters of interprative liberties with regards to timbre and its relation to harmonic progressions (as style has little effect on melody). If there was any composer who had an understanding of transintrumental harmony to render style irrelevant it would be Bach. Which instruments were used to perform his music or their combination made little difference to him: he did not specify the instruments to be used for several of his works. Ultimately, vindication for Bach's power of counterpoint can be achieved only from the music itself, and this fine performance by Richter is a most worthy testimony."