Petukhov "When I listened I was shocked"

January 13, 2016, 6:44 am

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Mikhail
P e t u k h o v

...When I listened I was shocked

The first time I met this titan (Shostakovich) was in October 1974 as a student, when Richter played four of the Preludes and Fugues in the Great Hall of the Moscow Conservatory terrifically. At that time I was already a fanatic admirer of Shostakovich's music. I knew a lot of his music: symphonies, quartets, piano music - and, incidentally, I was very inspired by Richter's recording of the G sharp minor Prelude and Fugue. When I listened I was shocked. The language of the music touched me. It was very close to my own feelings.

From an interview in IPQ 2004

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Prokof'ev, 1947

January 13, 2016, 12:38 pm

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P r o k o f' e v 1947

Richter, 1er Concerto pour piano

LES ARTS - D. Rabinovitch : Serguéi Prokofiev

[..] en 1921, la presse anglaise accueillit fort mal la représentation, à Londres, du ballet de Prokofiev, Chout (Le Bouffon). D'après le compositeur, sur cent vingt critiques cent dix-neuf le dénigraient. Prokofiev ne se tint pas pour battu. Au contraire, poussé par son entrain polémique, il accentuait encore son style déjà suffisamment aiguisé. Il horripilait même ses intimes. Dans des notes autobiographiques excessivement intéressantes, il raconte comment, pendant la période où il travaillait à l'opéra Le Joueur, sa mère, une musicienne, entra une fois dans la pièce où il se trouvait et s'écria avec désespoir : « Mais te rends-tu bien compte de ce que tu tapes sur ton piano ! » A cette époque-là, Prokofiev semblait plein d'entrain, mais on comprendra aisément que sa voie n'était pas facile. C'est n'est pas sans raison que Maxime Gorki, cet observateur subtil et délicat, après avoir écouté l'admirable interprétation musicale du conte d'Andersen, Le Vilain Caneton par Prokofiev, dît : « Ça, Prokofiev l'a composé sur lui-même ». On ne doit pas s'étonner de l'opposition que les premières oeuvres de Prokofiev rencontrèrent même dans les milieux de musiciens professionnels. Son 1er Concerto pour piano, qui fit tant de bruit, avait été achevé en 1911. La vie musicale de Pétersbourg et de Moscou s'enorgueillissait alors d'éminents musiciens, héritiers directs des traditions du classicisme russe du XIXe siècle : Glazounov, Rachmaninov et Taneïev. Metner était classé parmi les modernes. Le fougueux Scriabine commençait à peine à connaître la notoriété et son oeuvre était encore considérée comme ultra -moderne et comme presque en dehors des limites de la raison. Sur le fond des premières vingt années du siècle, la musique de Prokofiev passionnée, volitive, pleine d'une force vitale élémentaire, se raillant de toute faiblesse, préférant les harmonies dissonantes, les rythmes accentués, la démarcation extrême de la lumière et des ombres, devait naturellement faire l'effet de quelque chose d'insolite, de paradoxal. Et cependant, elle contenait déjà le lyrisme qui, après avoir évolué longuement en suivant une voie tortueuse, assura, en fin de compte, à Prokofiev une place marquante parmi les compositeurs romantiques de la « musique contemporaine ». De manière ou d'autre, il y a trente ans, la musique de Prokofiev était encore l'art de demain, et des années durent passer avant qu'elle ne devint réellement l'art de nos jours. Quel chemin a parcouru notre conscience musicale pendant le temps qui nous sépare des débuts de Prokofiev ! Au commencement de 1945, à Moscou, furent exécutées un même soir deux 5èmes Symphonies, — l'une de Prokofiev et l'autre de Chostakovitch, — deux œuvres en comparaison des quelles les premiers essais du jeune Prokofiev paraissent modestes et même naïfs. Et, probablement l'idée n'est venue à aucun de ceux qui étaient dans la Grande Salle du Conservatoire que cette admirable musique pouvait sembler étrange, «incompréhensible », intentionnellement excentrique. Dernièrement, l'un des meilleurs jeunes pianistes soviétiques, Sviatoslav Richter, a exécuté le fameux 1er Concerto pour piano de Prokofiev. Et, de nouveau, beaucoup de musiciens se sont souvenus avec étonnement qu'il y a trente ans cette œuvre relativement modérée quant à ses tendances modernistes (surtout si on la compare aux créations récentes de Prokofiev) scandalisait le public. L'œuvre de Prokofiev embrasse de préférence deux domaines. C'est d'abord celui du piano. Lui-même brillant pianiste aussi puissant qu'original, a dans ses compositions pour piano créé un style tout à fait nouveau. L'autre élément, cher à Prokofiev, est la musique théâtrale, spectaculaire. J'entends par cela ses opéras, ses ballets, ses œuvres pour orchestres, ses créations pour le théâtre et le cinéma. Dans son autobiographie, le compositeur indique lui-même le caractère essentiel de son œuvre. Une de ses manières est classique, sa source remonte à sa prime jeunesse, : « lorsque j'écoutais ma mère jouer les sonates de Beethoven », écrit-il. Les œuvres composées suivant cette ligne sont la populaire Symphonie classique et d'innombrables gavottes, menuets et rigodons. L'autre manière, la ligne novatrice, est dans la nature même de Prokofiev, ennemi de toute routine et de la banalité. La troisième ligne est la puissance du mouvement qui vit dans la musique de Prokofiev, et qui, parfois, comme par exemple dans sa Toccata ou dans le finale du 3ème Concerto pour piano jaillit, littéralement, avec une force invincible ; la musique se répand comme un torrent qui vient- de briser sa digue. La quatrième ligne est lyrique. D'une part, la musique de Prokofiev est matérielle jusqu'à la tangibilité. Prokofiev aime les massifs sonores, des « barbarismes » rappelant un amas chaotique de blocs de granit, les attaques furieuses, le choc d'accords faisant tache, l'âpre nudité d'impétueuses lignes mélodiques qui font songer aux branches effeuillées d'une forêt automnale. La musique de Prokofiev est réaliste, presque palpable. Il recherche tout ce qui est vitalement concret, individuellement buriné. Personne, semble-t-il, ne sait à un tel point, aussi naturellement que Prokofiev rendre par des sons un détail marquant, quelque trait psychologique plein d' originalité, les intonations spécifiques d'un parler caractéristique : que ce soient les Portraits musicaux des personnages du Joueur (d'après Dostoïevski), des paysans ukrainiens contemporains dans SémionKotko ou le postillon Balaga de Guerre et Paix ; que ce soit un gai dicton ou une déclaration d'amour. Sous ce rapport, Prokofiev est l'héritier direct et le continuateur de Moussorgski, cet immortel portraitiste musical russe. Ainsi donc : matérialité, peinture musicale, tendances réalistes. [..]

La Littérature soviétique, 1947

© Tutti i diritti sono riservati ai legittimi proprietari. La fonte originaria viene sempre citata o collegata con un link alla stessa. In questo Blog OGNI citazione o riproduzione di brani/foto/immagini o di parti d'opere sono UTILIZZATI a soli fini di ricerca scientifico-artistica, il cui utilizzo avviene secondo finalità illustrative o di discussione e per fini NON commerciali. Nessun Adsens è introdotto, come altre forme pubblicitarie finalizzate al profitto.

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Hauts lieux musicaux d'Europe: La Grange de Meslay

January 15, 2016, 9:52 am

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TOURS

FÊTES MUSICALES EN TOURAINE

Grange de Meslay

Richter et Jessie Norman. © CopyRight Fêtes Musicales 2012

Étrange grange de Meslay : édifiée en 1220 sur ordre de l'abbé de Marmoutier pour y entreposer les récoltes. Etrange et somptueuse architecture, presque religieuse, de cette ancienne grange dîmière : ses cinq nefs, sa voûte romane, son extraordinaire charpente en châtaignier comme on en voit peu, et qu'on ne se lasse pas de regarder, et ses portiques roman et gothique... Étrange destin lié au regard et à la sensibilité qu'un musicien lui a dévoués : Sviatoslav Richter en a fait l'un des hauts lieux de l'été musical français. L'esprit du lieu et son architecture fascinèrent le pianiste russe Richter lorsque, en 1963, il recherchait un espace musical en Touraine où organiser de véritables Fêtes musicales. Ainsi, la grange de l'abbaye de Marmoutier accueille depuis 1964 un festival dont Sviatoslav Richter est l'âme-animateur. Au programme de la série inaugurale de concerts en 1964, Sviatoslav Richter, Pierre Fournier, l'Orchestre de chambre de Moscou dirigé par Rudolf Bachaï, Rita Streich et Christian Ivaldiétaient réunis. Le principe de programmation n'a pas changé depuis : une dizaine de concerts donnés chaque année durant deux week-ends (vendredi, samedi, dimanche), le matin, l'après-midi et le soir. La période choisie est douce, fin juin, début juillet. L'esprit d' enthousiasme et de fête, allié aux qualités artistiques et musicales de la programmation, ont su rester aussi vifs au cours des vingt-cinq années d' existence du Festival, consacré à la musique de chambre et aux récitals. Depuis une dizaine d'années, les Fêtes musicales en Touraine sont organisées autour d'un thème musical, si bien que répertoire et interprètes varient au cours des sessions. En 1976, c'était naturellement le piano, puis Schubert en 1977, les voix en 1981, la musique française en 1983 (avec le Trio Martial Solal, l'Orchestre de Paris, Paul Tortellier, les Percussions de Strasbourg), les quatuors de Beethoven en 1984, la musique du XX' siècle en 1985, la musique de cour en 1986, la musique de chambre de Brahms en 1987... L'année 1985 reste marquante, sous le signe de la présence de l'Ensemble Intercontemporain et de l'Ensemble orchestral de Paris dirigés par Pierre Boulez, dans des œuvres de Stravinski, Ligeti, Berio, Boulez, Berg, Bartok, Messiaen, Höller, avec la création mondiale de deux œuvres commandées par l'EIC, Penthode de Elliott Carter, et Cadeau de Franco Donatoni. Des concerts mémorables aussi : Sviatoslav Richter, Youri Bashmet (alto) et Natalia Gutman (violoncelle) jouant Webern, Britten et Prokofiev ; les mêmes rejoints par Oleg Kagan pour un concert Chostakovitch... En 1986, le répertoire de la musique de cour amène à la Grange de Meslay l'Academy of Meslay, l'Academy of Saint-Martin-in-the-Fields et Iona Brown, les Arts florissants dirigés par William Christie, le Linde Concert... En 1987, les œuvres non symphoniques de Brahms sont servies par le Fine Arts Quartet, le Choeur de chambre de l'Orchestre national de Lyon, le QuatuorOrlando, et des solistes renommés, instrumentalistes ou chanteurs, comme Michel Portal, Youri Bashmet, Edith Mathis... Pour n'en citer que quelques-uns. Pour fêter leur vingt-cinquième anniversaire, les Fêtes musicales en Touraine s'étendent sur trois week-ends. Sviatoslav Richter a toujours invité, chaque année, les plus grands artistes de son temps et c'est dans un esprit de souvenir et de sympathie qu'il a convié, en 1988, des artistes ayant au moins participé une fois au Festival comme Christian Ivaldi, Noël Lee, Scott Ross, Trevor Pinnock... Et Sviatoslav Richter leur a laissé le choix des œuvres. La rigueur, la qualité musicale, toujours plus ambitieuse, attirent chaque année un public très nombreux et situent les fêtes de la Grange de Meslay au tout premier plan des festivals de musique en Europe. Celles-ci sont largement redevables à Sviatoslav Richter, à son sens aigu de l'art qui se traduit aussi dans un goût passionné pour l'art pictural moderne et contemporain.

Comité des Fêtes musicales en Touraine, mairie de Tours.
Hauts lieux musicaux d'Europe, 1988

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The repeats are obligatory for every musician

January 16, 2016, 3:02 am

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The repeats are OBLIGATORY for every m u s i c i a n

from 'Musiker im Gespräch: Sviatoslav Richter'

by Jürgen Meyer-Josten

Festivalul George Enescu 1961. Muzeul National George Enescu

(..) A short time ago I was speaking to a young woman pianist, a very good musician. She complained that she always found the beginning of Chopin's B minor Sonata so difficult. All right, perhaps at the start,' I said, 'but the second time, in the repeat of the exposition of the first movement, it is easier.''But I don't play the repeat,' she answered, 'no one does.' Where upon I said, 'Aren't you ashamed of yourself?' And presumably she was ashamed, because she then played it with repeats, and later told me it had gone very well. It makes it easier, because if the first time one has played nervously, perhaps through still being too tense, the second time it always goes better. There will be a crescendo because one is then freer; in my experience it never happens that one plays well the first time and worse the second. The repeats are obligatory for every musician. What I have said about piano sonatas is true also of symphonies, of Beethoven's Fifth for example; in the last movement the first part must be repeated. People never take me quite seriously when I say that, but I genuinely feel robbed if the repeats are missing. I have come to hear the whole work, and I have been cheated of a part. And then the cuts in operas, even in those which are really not difficult, like La Traviata. This opera has become a pot-pourri, there is not much of La Traviata left. It is much the same with Rigoletto (..)

A further example of people's stupidity and ignorance is provided by many new opera houses and concert halls. The Festspielhaus in Bayreuth is ideal acoustically; the singers are no longer forced to strain. But the new houses are built as if this ideal example did not exist, it has not been imitated anywhere. Why have not all auditoriums been built like it? I am particularly fond of Strauss's Sinfonia Domestica, it is a piece with a very great deal of charm. But perhaps it is a little too darin? to want to conduct it one day. I also played Strauss's Burleske, but only twice: once with Gheorgescu, the other time with Rozhdestvensky. After that it somehow never happened again, though I should have liked to play it more often.

(..)

Source: British Institute of Recorded Sound 1983 and IPQ 1997: CONVERSATIONS WITH SVIATOSLAV RICHTER IN SEPTEMBER 1971 AND AUGUST 1973 A SERIES OF INFORMAL CONVERSATIONS TOOK PLACE BETWEEN THE THEN HEAD OF MUSIC AT BAVARIAN RADIO IN MUNICH, JURGEN MEYER- JOSTEN, AND SVIATOSLAV RICHTER, WHICH WERE LATER PUBLISHED IN MUSIKER IM GESPRACH: SVIATOSLAV RICHTER (PETERS; FRANKFURT). Photo: Muzeul National George Enescu.

© Tutti i diritti sono riservati ai legittimi proprietari. La fonte originaria viene sempre citata o collegata con un link alla stessa. In questo Blog OGNI citazione o riproduzione di brani/foto/immagini o di parti d'opere sono UTILIZZATI a soli fini di ricerca scientifico-artistica, il cui utilizzo avviene secondo finalità illustrative o di discussione e per fini NON commerciali. Nessun Adsens è introdotto, come altre forme pubblicitarie finalizzate al profitto.

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From Jewish Folk Poetry (Nina L'vovna Dorliak)

January 16, 2016, 2:32 pm

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D m i t r i Dimitrievič Š o s t a k o v i č

"From Jewish Folk Poetry"

«Из еврейской народной поэзии» Op.79

By Nina L'vovna Dorliak

Richter and Dorliak

Early in the autumn of 1948 Dmitri Dmitriyevich completed the cycle From Jewish Folk Poetry and brought the score to me at home, saying that he wished to play it through for me. Sviatoslav Richter was also with me. The cycle touched us to the very core. He suggested that I should sing the soprano part and choose the two other soloists, a mezzo-soprano and a tenor. Immediately I approached Tamara Yanko and Alec Maslennikov. One has to remember that at the time of its composition there could be no possibility of a public performance of the cycle. Although I was not bothered by this, I was worried that my colleagues might balk at the idea of singing " unacceptable" music. . . . Fortunately, in this instance, both singers were quick to agree. We performed the cycle for the first time, privately at Dmitri Dmitriyevich's flat. He invited many musicians and his own friends. The new work was striking and profound, and everybody was moved by its intense and simple sincerity. We gave

private performances on more than one occasion, and we rehearsed a lot for them — Dmitri Dmitriyevich liked rehearsing. He was very strict and we were not allowed to be so much as a minutes late. There was only one occasion in my life when he was angry with me, when, through unavoidable circumstances, I arrived some minutes late. He himself was always terribly exact and punctual to the second, a characteristic he shared, incidentally, with Sergei Sergeyevich Prokofiev. Several years went by before we were able to give the first public performance of From Jewish Folk Poetry in Leningrad. By that time Zara Dolkhanova had taken over the mezzo part, so she, rather than Yanko, had the honor of giving the first official performance. Thereafter we gave several performances in Moscow, Leningrad, and in the Baltic Republics, Dmitri Dmitriyevich always played the piano part; while he was able to perform he never let anybody else play it. Richter wanted to accompany us in this cycle, but Dmitri Dmitriyevich insisted on playing all the concerts himself: he obviously enjoyed them!

Nina L'vovna Dorliak

San Francisco Symphony Playbill 2002 and Shostakovich: A Life Remembered By Elizabeth Wilson

From Jewish Folk Poetry op.79
The Lament for the Dead Child
The Thoughtful Mother and Aunt
Lullaby
Before a Long Parting
A Warning
The Abandoned Father
The Song of Misery
Winter
A Good Life
The Young Girl's Song
Happiness

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Fotografie e un programma per Kiev (1961)

January 17, 2016, 10:14 am

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FOTOGRAFIE
e unprogramma per K i e v 1 9 6 1

Programma: Kiev, 1961: 4, 5 giugno

Sala Grande del Conservatorio di Kiev

4 GIUGNO 1961

HAYDN: Sonata in Mi bemolle op.66

SCHUMANN: Sonata in sol no.2 op.22

DEBUSSY: Suite Bergamasque; 5 Préludes, L'Île joyeuse

5 GIUGNO 1961

HAYDN: Sonata in sol op.54, Sonata in Si bemolle op.37

SCHUMANN: Sonata in sol no.2 op.22

CHOPIN: Barcarolle op.60

DEBUSSY: 3 Préludes

SCRIABIN: Sonata no.5 op.53

Una curiosa espressione.© Fêtes musicales en Touraine, 1979

Annie Fischer

"Une grande artiste, au grand souffle, et d'une vraie profondeur."

Sviatoslav Richter

Anni '90.© El Pais, Carles Ribas

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Richter e Temirkanov alla Fenice, di Ezio Lazzarini

January 18, 2016, 4:58 am

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UNA TESTIMONIANZA ESCLUSIVA

Il mio incontro con Richter e Temirkanov alla Fenice
Ottobre 1974

Richter al Teatro la Fenice, 1962

"Alle prove, Richter divorò letteralmente il magnifico Concerto.La serata registrò un successo memorabile!"

Di Ezio Lazzarini

INTRODUZIONE

Giovedì 14 gennaio 2016, pomeriggio.

Guardo distrattamente la posta del PC e apprendo che il sig. Corrado Grandis, che non conosco, mi ha contattato. La lettera è molto gentile e discreta. Do' un'occhiata all'oggetto della mail e vedo...Sviatoslav Richter blog! Ovviamente sono incuriosito e apprendo dalla lettura che il sig. Grandis, scorrendo una piccola rubrica che curo personalmente nel sito Contrappunto Veneziano dell'"Associazione Musicale Ermanno Wolf- Ferrari"di Venezia, ha notato che negli anni di permanenza al Teatro la Fenice, ho avuto il privilegio di poter lavorare con il grande Sviatoslav (Note storiche: il Duo Sovietico). Avuto conferma dopo un breve scambio di mail che il Grandis sarebbe molto interessato ad una narrazione più dettagliata di questo avvenimento, cercherò ora di riordinare i miei ricordi;

sono trascorsi ...42 anni!

Siamo dunque nel lontano 1974.

Un anno difficile per la Fenice.

La Direzione contestata, riunioni sindacali, assemblee interminabili e furenti, occupazione e relativi striscioni esposti sulla facciata del teatro; tutto il repertorio insomma. (si legga l'articolo de L'Unità di Tina Merlin, pubblicato nel Blog. Ndr)

Alcuni Concerti furono cancellati (per mancanza di fondi mi par di ricordare). E qui è doveroso ricordare il maestro Piero Bellugi che, in maniera del tutto disinteressata rimase a Venezia, portando avanti comunque l'attività del Teatro la Fenice.

Il Sovrintendente Floris Luigi Ammannati e il Direttore Artistico Mario Labroca furono sollevati dall'incarico e sostituiti rispettivamente da Gianmario Vianello e da Sylvano Bussotti.

E fu appunto in questo periodo che era previsto il Concerto Sinfonico dei due grandi artisti russi: il direttore Yuri Temirkanov e il pianista Sviatoslav Richter; mi par di ricordare inoltre che anche questi artisti offrirono la loro prestazione per portare aiuto concreto allo Storico teatro veneziano.

L'evento prevedeva il III° Concerto op. 37 di Beethoven e la IV Sinfonia op.36 di Ciajkovskj. (26 ottobre 1974. Ndr)

Iniziarono quindi le prove dove il direttore Temirkanov impose tutta la sua musicalità, tutto il suo impeto, ottenendo dall'Orchestra il massimo delle proprie possibilità che preludevano, ben si capiva, ad un Concerto memorabile.

Ma i giorni passavano e il pianista non arrivava.

Che fare?

La Direzione era in grande ansia perché i due artisti, ovviamente, dovevano leggere e concordare il pezzo almeno una volta prima dell'esecuzione.

Si giunse così, mi par di ricordare, alla mattina del giorno fatale con il Teatro da tempo esaurito.

E fu allora che la direzione mi contattò, essendo nell'organico stabile da molti anni, e pregato con gentile fermezza di recarmi al Conservatorio Benedetto Marcello dove mi attendeva il duo Richter-Temirkanov per una lettura a due pianoforti del Concerto op.37.

Mi fu dato uno spartito, che scorsi frettolosamente per strada (il Conservatorio dista cinque minuti di cammino dalla Fenice).

In realtà mi sentivo come un commando che deve compiere una missione senza ritorno, confortato solo dalla speranza di evitare, almeno, tutta la lunga introduzione dell'orchestra.

Salite rapidamente le scale di Palazzo Pisani mi diressi verso l'aula n°62 dove all'epoca c'erano due gran coda Steinway e un magnifico busto bronzeo del famoso docente, Concertista e Compositore Gino Tagliapietra.

Salutai i due artisti e mi sedetti al pianoforte.

Temirkanov prese una sedia, la sistemò tra i due strumenti, accavallò le gambe e sopra vi sistemò la partitura del Concerto.

Mi guardò tranquillamente e "prego maestro, da capo".

Dunque, ahimè, non mi si risparmiava nemmeno l'introduzione!

Il resto l'ho descritto sinteticamente nella nota che ha incuriosito Grandis e quindi:

“Eseguimmo la composizione senza interruzioni, il solista divorò letteralmente il magnifico Concerto; io come si usa dire, tenni duro e Temirkanov ci condusse con tranquillità in porto. La serata registrò un successo memorabile, ovviamente.”

Ho anche scritto nella mia nota che prove di questo genere potevano accorciarmi la vita, ma dopo 42 anni ( ! ) sono ancora qui a raccontarla.

Non è poco...

Ezio Lazzarini

Desidero ringraziare sentitamente il Maestro Ezio Lazzarini, testimone prezioso di questo esclusivo incontro tra Richter e Temirkanov. Lazzarini, fu Maestro di Sala al Teatro la Fenice per trentacinque anni, una lunghissima collaborazione che lo ha portato ad incontri memorabili con direttori quali Celibidache, Abbado, Prêtre, Gavazzeni, Igor Stravinsky (!), cantanti come Mario Del Monaco, Tito Gobbi, Alfredo Kraus, Boris Kristoff e molti altri. Inoltre, fu parte del Nuovo Trio Bartók. Eseguì a Venezia la prima de "L'Histoire du soldat" e il Settimino di Stravinsky, come fu chiamato a sostituire all'improvviso personalità quali Luciano Berio. Attualmente, dopo aver insegnato per molto tempo al Conservatorio di Venezia "Benedetto Marcello" Ezio Lazzarini continua - in formazione di duo pianistico con la figlia, Anna - la lunga tradizione concertistica veneziana del pianoforte a quattro mani. Corrado Grandis.

© Tutti i diritti sono riservati ai legittimi proprietari. Esclusiva per il Blog.

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Andrej Zolotov "There is beauty, harmony, nature"

January 23, 2016, 11:41 pm

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A n d r e j Z o l o t o v

There is beauty, harmony, nature

There is M U S I C

And there is

R I C H T E R

(..) Svyatoslav Richter is the pride of the nation's musical culture and a legendary figure in the performing arts of the 20th century - Richter's art is made unique by the perfection of his playing, his wonderful natural organization and rare adaptation to the piano as well as by his truly enormous repertoire, which keeps growing. But above all, the uniqueness is due to his insatiable exploration. Every time you attend one of Richter's concerts you feel that new questions have been posed to keep you ever on the move. Having missed several of his performances you feel that you have dropped behind and are not to the level of communication that has been established while you were away. When you attempt to analyze (at least for your own benefit) the foundation, of Richter's art, you come up against a paradox : Svyatoslav Richter is not a pianist, no pianist at all. But, who is he then? Painter? Poet? Artist—in the wider meaning of the word? Philosopher in art? Yes! A richly-endowed musician. potential composer, conductor and creator of music? Yesl All this combined is the genius of Richter, the pianist. His teacher. Heinrich Neuhaus—an exceedingly refined musician with an exceptionally agile mind— used to say that one felt cleansed after attending one of Richter's concerts. That is perfectly true of practically all who have ever heard Richter play. He immerses himself in music and invites all his listeners to do the same. I shall not say that Richter is dissolved in music and loses his personality. But he is joined with music to such an extent and penetrates it so deeply that an organic whole appears, which includes the spirit and energy of the creator and performer. Richter comes on stage out of his own meaningful life. The minutes during which the concert is given represent a window which allows us to see a remarkable man whose face is ever tumed to people and to music. Does Richter sense the audience when he plays? He probably does. Of course, he does. Does he perform specially for the people in the audience? Here, too, the answer is in the affirmative. And still, Richter plays for his own benefit, for the benefit of music. His contact with the audience is rather unconventional. I think that he perceives the audience as one listener, a listener required by the music and the musical rendition. Music is bom. .. having brought very process of and the man who, it to life, hears it first is the artist himself. Probably that is why the lights are always subdued during Richter's concerts. He needs to hear the quivering music, and nothing and no one must interfere. It is not to hear him that the audience is invited, but to listen to music together with him. That is why a curtain of soft light separates the stage from the hall. The miracle performed by the pianist spreads throughout the space around him. It links the man on the stage with the people in the audience. It goes further, spilling out into the world and musical space around it. The outstanding Canadian pianist Glenn Gould, himself a major musician of the contemporary times, described Svyatoslav Richter as a go-between for the composer and the listeners. He said that whenever Richter plays we rediscover him and it is always from another and unaccustomed side that we see him. According to Gould, Richter is one of the most powerful communicators of our time. He avoids meeting people and getting involved in distracting conversations. This is not out of arrogance, but out of respect, which he feels he can express best by playing to the best of his ability. This is his way of expressing love for mankind. But to play as Richter does, putting all his strength into the music, you have to be well organized and be able to transform new ideas and feelings into fine art. One of the strong points of Richter's talent, retained over the years, is his wonderful ability to see the world as a miracle. His acceptance of every new moment of life as a revelation is one of Richter's most enticing mysteries. Svyatoslav Richter makes the pieces of music he undertakes to play boundless by putting all his quivering, cosmic heart, pain and intellect into it. He exudes great spiritual strength and offers faith and renewal. A huge, strong and wise man offers his hand to lead us. Richter is not a superman, but rather a real human being with authentic intensity in his dedication to perfection. He teaches us to love and understand music, be exacting of one's own self and others, he sincere and sensitive, but above all to seek truth. Heinrich Neuhaus wrote: "I see Richter as a human being, while' To ... Less simple people feel that he underestimates himself, while those who are not simple at all, and I rank myself among these (rather naively), know well that he speaks the absolute truth... . " Those whose lot it is to shoulder the burden of the high art are never conceited (for the information of certain young musicians)!' Richter's art is addressed to all and to every individual separately. lt is because of this that there is always -an atmosphere of trust whenever and whatever he plays. One would imagine that such a great pianist as Richter would eclipse those who are less talented. Actually, the understanding of Richter and his art, his artist's image help to see the individuality of other musicians. An understanding of Richter helps one to see the merits of other artists, helps one to be a keen observer and to acquire good taste. We have become accustomed to the existence of Svyatoslav Richter. He has become a standard of excellence to us. There is beauty, harmony, nature. There is music. And there is Richter.

Andrej Zolotov

CULTURE AND LIFE, 1980

© Tutti i diritti sono riservati ai legittimi proprietari. La fonte originaria viene sempre citata o collegata con un link alla stessa. In questo Blog OGNI citazione o riproduzione di brani/foto/immagini o di parti d'opere sono UTILIZZATI a soli fini di ricerca scientifico-artistica, il cui utilizzo avviene secondo finalità illustrative o di discussione e per fini NON commerciali. Nessun Adsens è introdotto, come altre forme pubblicitarie finalizzate al profitto.

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Usa 1960: Lang, Taylor, Durgyn, Schonberg (quotes)

January 24, 2016, 8:03 am

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Paul Henry L a n g and Harold Sc h o n b e r g
Robert Taylor, Cyrus Durgyn
U.S.A. 1 9 6 0

Quotes

Robert Taylor (Boston Herald)
Cyrus Durgyn (Boston Globe)
Paul Henry Lang (NY Herald Tribune)

An event of the musical season will be the Pension Fund Concert to be given by this Orchestra on Tuesday evening, November 1, in Symphony Hall. Sviatoslav Richter will be the soloist. (With Charles Munch)

◾Paul Henry Lang, N. Y. Herald Tribune

From "The pianist of the Century", Aaron Richmond presents Sviatoslav Richter
FIRST SYMPHONY HALL RECITAL Sunday Evening, December 11, at 8:15

BOSTON SYMPHONY ORCHESTRA SEASONS 1960-1961

"He gave us a debut recital that was nothing less than a supreme challenge to all listeners to judge him as a musician, not a mere pianist . . . Mr. Richter is one of the truly great pianists of our age, a master musician and a master pianist . . . Richter amply justified the high expectations and the wonder stories that preceded him. He is a phenomenal artist, and if the Russians have any sense they will never call him home. He is worth fifty ambassadors and twenty-five divisions, he cannot be vanquished because he represents the genius of the Russian people, free of all malice and all mortal sin. For he is a genuine artist in the full and solemn meaning of the word". — Paul Henry Lang, N. Y. Herald Tribune, Oct. 20

◾Harold Schonberg, New York Times

"Mr. Richter's pianism combined astonishing technical mastery with bold, wide- ranging musical imagination. His control over the colorings ... "

Reviewing the first recital (Oct 19), a program of five Beethoven sonatas, Harold C. Schonberg reported in The New York Times.

From MUSIC: RUSSIAN SENSATION

Sviatoslav Richter in Carnegie Hall Debut

"Future programs will reveal other aspects of his pianism and of his musical approach. A Beethoven program, after all, is scarcely an index of all sides of a musician's mind. But if he plays any of those programs in anything but a brilliant manner, this writer will be the most surprised critic in the hemisphere."⬇

“every musician in town was present” and that, for once, “the sold-out house was seated an expectant 10 minutes before the stage lights went on".

". . . . His style is the Russian style of piano playing at its best — free , warm, romantic, without excess."''Despite a wonderful technique and the ability to make a magnificent piano sound, his style is essentially introspective.''

◽

➡ "There may have been a show-me attitude at the beginning", "Within 15 minutes all was dissipated in enthusiasm. Mr. Richter proved to be a pianist of style, poetry and imagination: a complete artist."

(New York Times, October 20, 1960)

© Tutti i diritti sono riservati ai legittimi proprietari. La fonte originaria viene sempre citata o collegata con un link alla stessa. In questo Blog OGNI citazione o riproduzione di brani/foto/immagini o di parti d'opere sono UTILIZZATI a soli fini di ricerca scientifico-artistica, il cui utilizzo avviene secondo finalità illustrative o di discussione e per fini NON commerciali. Nessun Adsens è introdotto, come altre forme pubblicitarie finalizzate al profitto.

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Richter and Bernstein, 1960 (Archives)

January 24, 2016, 1:31 pm

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From Archives New York Philharmonic

R i c h t e r and B e r n s t e i n

Henri Cartier-Bresson/Magnum Photos

1. BERNSTEIN TO RICHTER (Telegram)

◾TELEGRAM OCTOBER 13, 1960

2. DEBUT AT CARNEGIE HALL

◾Russian Pianist Richter. Excellent In Debut Here. By Robert C. Marsh◾On the Aisle. By Claudia Cassidy

Chicago Sun-Times. October 16, 1960

Chicago Tribune. October 16, 1960

3. OCTOBER, NOVEMBER, DECEMBER ...Correspondence

◾George Judd to Stephen Rosenfeld ◾George Judd jr. to Walter Prude ◾Carlos Moseley to DIMITRI MITROPOULOS◾George Judd to Walter Prude◾Walter Prudd to Joan Bonamine◾Carlos Moseley memorandum ◾Joan Bonamine to George Perper ◾George Judd to Leonard Bernstein◾George Judd to Stephen Rosenfeld◾December 18, Extra Concert with MITROPOULOS (expected, the concert did not take place)◾Monday, December 19: Special Concert Benefits

4. RICHTER AND BERNSTEIN: THE CONCERT

December 19, 1960

REVIEWS

◾Richter and the Philharmonic, by Harold Schonberg◾Richter plays for Pension Benefit, by Harriett Johnson◾Richter Magnificent, by Miles Kastendieck◾Russia's Richter in Fund Concert, by Louis Biancolli ◾Music: New York Philharmonic, by Ronald Eyer

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Around Debussy: quotes

January 31, 2016, 1:49 am

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S V I A T O S L A V R I C H T E R

"In half a year, Neuhaus freed my hands—really liberated them". "For that reason he is more than a teacher or friend to me."

Interview with Osgood Caruthers. New York Times, October 16, 1960

"AROUND DEBUSSY"

◾BRYCE MORRISON

Debussy was another speciality. Not since Gieseking had anyone penetrated so acutely or completely to the very heart of the Debussian world. The remote, teasing and, for some, inhuman spirit of Richter's playing could hardly have been more appropriate for Debussy's endlessly shifting, iridescent visions, his uncanny translations of natural phenomena, of light and shade, wind and water. A Russian to his fingertips, Richter understood with an uncanny empathy the interior and disturbing magic of an entirely Gallic genius, one who wished to be remembered, simply, as a "musicien frangais". For him the unique sound world, the brilliancies and shadows of the Preludes, Estampes and Images were second nature. A PIANIST BEYOND COMPARISON Sviatoslav Richter and the Growth of a Legend (Universal)

◾JEREMY SIEPMANN

Among the most outstanding of Richter's characteristics was his uncanny ability to illuminate the minutest details while at the same time making them converge into a single unified whole. This, allied to his prismatic approach to colour, goes some way towards explaining the quite extraordinary spell cast by his Debussy-playing. In the light of his playing of Estampes in particular, he must surely be ranked as peerless in this repertoire. 1997, DGG

◾PIERRE-LAURENT AIMARD

"Richter was an artist you could never categorise. He could be unpredictable, impossible even... but in his best moments he carried you along on a flight of inspiration, especially in Debussy and Ravel. Gramophone 2003 (Interview)

◾DAVID FANNING

Richter's Debussy radiates a hypnotic power quite beyond the routinely expressive and picturesque; it's elevated music-making of the kind given only to the very few, and every aspect of pianistic art, including wizardry with the sustaining pedal, at its most highly developed. One could single out the smouldering intensity of the'Serenade interrompue', initially all half-lights and heat haze, then explosive and sun-baked, and finally sexily insinuating in the serenade itself. You thought Richter was an unremittingly serious player? Try his match-lessly skittish'Danse de Puck'. Only in 'La cathedrale engloutie'is he hoist by his own petard, when he sticks doggedly to an edition which has been shown to be inaccurate and scores an uncharacteristic number of mis-hits on the way. From 'Richter, the early visits (1961-1967)'. Gramophone

📣 Audio. 'L'Île joyeuse'

Moscow, September 24, 1960

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Dmitrij Paperno

February 3, 2016, 8:18 am

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D m i t r i j P a p e r n o

Concert pianist and teacher, 1929

(Anedocte)

Prize-giving of the 5th International Fryderyk Chopin Piano Competition: Vladimir Ashkenazy, Andrzej Czajkowski, Bernard Ringeissen, Dmitry Paperno. Source: Medici TV

[..] One of my colleagues, Eduard Miansarov, having at last got his first concerts abroad, contrived not to submit his exit papers on time, while my official British visa was still in force. I had so little enthusiasm for the trip that I called up Venedict Boni, the director of Gosconcert (and later, of the Bolshoi Theater), in an attempt to dodge the tour. "Are you out of your mind? Do you want to lose your foreign concerts forever? Don't you realize that it's timed to the fiftieth anniversary of the revolution, and approved by Furtseva herself? Don't even think about it!"No one could with stand this kind of argument, and besides, he meant it for the best. It was November, but stiflingly hot in fabulous Havana, and sure enough, the air conditioner the Americans had built and left behind in the rambling contemporary Hilton was out of order. Not being used to one hundred percent humidity, my good colleague from Gosconcert and I found it difficult to breathe, play, even shave. And something else dampened this bright and handsome violinist's enthusiasm even further: the Soviet embassy official made an agreement with the hotel management that I would simply sign my restaurant checks. Since all my hotel expenses were taken care of by Cuba, my three daily meals in Havana thus became free. I don't know why my pal was not extended this same hospitality; three times a day, he walked several blocks to the embassy's canteen where the meals were much cheaper. (I mention this insignificant episode because it had an unexpected but unfortunately typical sequel.)

On 5 November I played the Shostakovich Concerto with the Havana Symphony at the Amadeo Roldan. The beautiful old concert hall was full to over flowing. Almost half the orchestra was made up of musicians from Bulgaria, for a large percentage of the local intelligentsia emigrated after Castro came to power. At one of the rehearsals the popular, respected conductor, Enrico Manticci, showed up in a police uniform with a holster at his belt — it was his day on duty. Let's not forget that Old Havana used to listen to Rachmaninov, Rubinstein, and many others, and the city boasted two or three conservatories.

[..]

the professional level was more in line with our music college or high schools. (Ten years later I found, to my even greater surprise, the same situation in the United States.) Our animated conversation clearly revealed their amicability, spontaneity, and curiosity — a quality that I consider a real pledge of progress — yet at the same time, their modest knowledge of music and its history. For instance, one of them asked, "Who in the U.S.S.R. is considered the best pianist — you or Richter?" Unbelievable!

Incidentally, Sviatoslav Richter had long put up with such nonsense. Back in the mid 1940s, when his enormous popularity was just beginning, he asked a doctor from the district clinic to make a house call. In filling out the medical report, the old man learned that his patient was a pianist with the Moscow Philharmonie and remarked respectfully, "Aah, the next Bryushkov."

(In the 1930s, Yury Bryushkov had enjoyed some success among older Muscovites as a sentimental Chopin performer.)

[..]

From: "Notes of a Moscow pianist" by Dmitrij Paperno (ukrainian concert pianist and teacher, he studied under Goldenweiser). Amadeus Press 1998.

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Igor Markévitch: Guillels sur Richter

February 4, 2016, 7:49 am

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Igor M a r k é v i t c h

G u i l l e l s sur R i c h t e r

A peine de retour d'U.R.S.S. où il a donna huit concerts, le maestro Igor Markévitch se préparait déjà à quitter Paris pour d'autres pays... Cependant, avant de reprendre le chemin des capitales, Igor Markévitch nous reçut avec affabilité et nous confia ses impressions sur son voyage en Union Soviétique. ...

[..]

A Moscou, je donnais une œuvre qui est le chef-d'œuvre de la musique contemporaine de ce siècle, le Sacre du Printemps. Aucun orchestre ne l' avait encore joué là-bas. Il a été intéressant de voir l'adaptation rapide des musiciens a cette musique et les réactions enthousiastes du public. Je crois qu'il faut beaucoup insister sur l'évolution qui s'est faite ces dernières années en U.R.S.S. et, dont le public à l'étranger ne se rend pas encore bien compte. Aujourd'hui on porte un intérêt croissant à tout ce qui est nouveau, artistiquement . En architecture, par exemple, en ce moment, il y a un changement extraordinaire. Et quand on me demandait des disques, des livres ou les programmes de mes prochains concerts, les étudiants, qui venaient suivre mes répétitions, étaient surtout intéressés par les œuvres les plus récentes de la littérature et de la musique. Je viens de vous dire que l'on suivait mes répétitions. A ce propos, j'aimerais vous raconter une petite anecdote qui me paraît typique. Ma première rencontre avec le pianiste Guillels remonte au festival de Strasbourg. Après la répétition je lui demandais de venir déjeuner avec moi. Je lui parlais de la qualité de l'école russe de piano, celle qui donne des artistes comme lui. Guillels m'a interrompu au bout d'un moment et déclara : « Je me réjouis que vous veniez bientôt en Russie parce que vous pourrez entendre Richter; c'est un tel pianiste que vous oublierez complètement ma manière de jouer à moi ». Je racontais l'anecdote en U.R.S.S. en appréciant son esprit sportif et en soulignant combien une telle modestie est inaccoutumée. J'ajoutais que rarement j'avais vu chose semblable dans mes voyages. On m'interrompit : « Savez-vous que Richter vient de présenter un jeune pianiste qu'il trouve très supérieur à lui... »

Études Soviétiques, 1961

© Tutti i diritti sono riservati ai legittimi proprietari. La fonte originaria viene sempre citata o collegata con un link alla stessa. In questo Blog OGNI citazione o riproduzione di brani/foto/immagini o di parti d'opere sono UTILIZZATI a soli fini di ricerca scientifico-artistica, il cui utilizzo avviene secondo finalità illustrative o di discussione e per fini NON commerciali. Nessun Adsens è introdotto, come altre forme pubblicitarie finalizzate al profitto.

↧

A Lydia Fournier (lettera 1967)

February 6, 2016, 8:39 am

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R A R I T À

AM.me L y d i a F o u r n i e r

(Moglie di Pierre Fournier)

- da Mosca 25 Genn 1967 -

◾" amerei venirvi a trovare e guardare il Monte Bianco dal vostro terrazzo. Sono da poco rientrato dall'Italia e in questo momento mi riposo in uno chalet d'inverno... "◾

Mme Lydia Fournier

14 Park de Château Banquet. Ginevra. Svizzera

Русский

AbeBooks.fr

© Tutti i diritti sono riservati ai legittimi proprietari. La fonte originaria viene sempre citata o collegata con un link alla stessa. In questo Blog OGNI citazione o riproduzione di brani/foto/immagini o di parti d'opere sono UTILIZZATI a soli fini di ricerca scientifico-artistica, il cui utilizzo avviene secondo finalità illustrative o di discussione e per fini NON commerciali. Nessun Adsens è introdotto, come altre forme pubblicitarie finalizzate al profitto.

↧

Magister Neuhaus, Plato and Dostoevskij

February 8, 2016, 2:15 am

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M a g i s t e r N e u h a u s

P l a t o and D o s t o e v s k i j

Silence, five or six seconds for an eternal harmony

A maieutical method for LIFE and MUSIC, HARMONY and NATURE

(Richter on Heinrich Neuhaus) ...I learned a lot from him, even though he kept saying that there was nothing he could teach me. Music is written to be played and listened to and has always seemed to me to be able to manage without words... This was exactly the case with Heinrich Neuhaus. In his presence I was almost always reduced to total silence. This was an extremely good thing, as it meant that we concentrated exclusively on the music. Above all, he taught me the meaning of silence and the meaning of singing. He said I was incredibly obstinate and did only what I wanted to. It's true that I've only ever played what I wanted. And so he left me to do as I liked...

↘

Sviatoslav Richter created his Art, following his ideas - with possession than a genie - like only Socrates follows his demon. But this isn't Richter's affinity also in Dostoevsky's art? Lazar Berman: "There was something of Dostoevsky, and then deeply Russian, and not intellectual, in Richter, in this his having to go through the purification of suffering .."

"I went to the artisans, for I was conscious that I knew nothing at all, as I may say, and I was sure that they knew many fine things of which I was ignorant, and in this they certainly were wiser than I was. But I observed that even the good artisans fell into the same error as the poets; because they were good workmen they thought they knew all sorts of high matters, and this defect in them overshadowed their wisdom — therefore I asked myself on behalf of the oracle, whetherI would like to be as I was, neither having their knowledge nor their ignorance, or like them in both; and I made answer to myself and the oracle that I was better off as I was. . ."

From Plato's account of the trial of Socrates

"There are seconds, they come only five or six at a time, and you suddenly feel the presence of eternal harmony, fully achieved. It is nothing earthly; not that it's heavenly, but man cannot endure it in his earthly state. One must change physically or die. The feeling is clear and indisputable. As if you suddenly sense the whole of nature and suddenly say: yes, this is true. God, when he was creating the world, said at the end of each day of creation: 'Yes, this is true, this is good.' This . . . this is not tender heartedness, but simply joy. You don't forgive anything, because there is no longer anything to forgive. You don't really love — oh, what is here is higher than love! What's most frightening is that it's so terribly clear, and there's such joy. If it were longer than five seconds — the soul couldn't endure it and would vanish. In those five seconds I live my life through, and for them I would give my whole life, because it's worth it. To endure ten seconds one would have to change physically . . . "

Fëdor Michailovič Dostoevskij (Demons)

(C.G.)

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Lamartine. Harmonies poétiques: Andante Lagrimoso

February 16, 2016, 2:23 pm

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À moi-même
Une Larme, une Consolation

...Une musique méditative que Richter donne dans un cadre d'un concert receuilli : c'est l'élèvation douloureuse...
(M.Papp)

Alphonse L A M A R T I N E

et Ferenc L I S Z T

(Fêtes musicales en Touraine 1982. Revue du deux mondes)

<< Seul, Richter joua trois extraits, souverainement ignorés de la quasi-totalité des pianistes, des Harmonies poétiques et religieuses de Liszt — Pensée des morts, Andante lagrimoso et Ave Maria — , qui annoncent déjà, par leur dépouillement, leur spiritualité, la dernière manière du compositeur, ainsi que Prélude, Choral et Fugue de César Franck. En écoutant ces interprétations, on était au moins aussi frappé par leur intériorité, par ce toucher qui, presque immatériel par moments, peut également transformer le piano en un véritable orchestre, que par l'extraordinaire modestie de Richter, par son humilité devant la musique. Jamais il ne se met en avant : son seul souci est de servir son art. C'est ce qui fait sa grandeur...>>

Neuvième Harmonies

recueil poétique

(1852) Andante lagrimoso, après le poème Une larme

LISZT, HARMONIES POÉTIQUES ET RELIGIEUSES S.173 NO.9: Andante lagrimoso

Kyiv. Live. Sala Filarmonica. 1 9 8 2

➡ "Andante lagrimoso"

Alphonse Lamartine, Une Larme, ou Consolation

Tombez, larmes silencieuses, Sur une terre sans pitié ; Non plus entre des mains pieuses, Ni sur le sein de l'amitié !

Tombez comme une aride pluie Qui rejaillit sur le rocher, Que nul rayon du ciel n'essuie, Que nul souffle ne vient sécher.

Qu'importe à ces hommes mes frères Le coeur brisé d'un malheureux ? Trop au-dessus de mes misères, Mon infortune est si loin d'eux !

Jamais sans doute aucunes larmes N'obscurciront pour eux le ciel ; Leur avenir n'a point d'alarmes, Leur coupe n'aura point de fiel.

Jamais cette foule frivole Qui passe en riant devant moi N'aura besoin qu'une parole Lui dise: " Je pleure avec toi ! "

Eh bien ! ne cherchons plus sans cesse La vaine pitié des humains ; Nourrissons-nous de ma tristesse, Et cachons mon front dans mes mains.

À l'heure où l'âme solitaire S'enveloppe d'un crêpe noir, Et n'attend plus rien de la terre, Veuve de son dernier espoir ;

Lorsque l'amitié qui l'oublie Se détourne de son chemin, Que son dernier bâton, qui plie,

Se brise et déchire sa main ;

Quand l'homme faible, et qui redoute La contagion du malheur, Nous laisse seul sur notre route Face à face avec la douleur ;

Quand l'avenir n'a plus de charmes Qui fassent désirer demain, Et que l'amertume des larmes Est le seul goût de notre pain ;

C'est alors que ta voix s'élève Dans le silence de mon coeur, Et que ta main, mon Dieu ! soulève Le poids glacé de ma douleur.

On sent que ta tendre parole À d'autres ne peut se mêler, Seigneur ! et qu'elle ne console Que ceux qu'on n'a pu consoler.

Ton bras céleste nous attire
Comme un ami contre son coeur, Le monde, qui nous voit sourire, Se dit : " D'où leur vient ce bonheur ? "

Et l'âme se fond en prière Et s'entretient avec les cieux, Et les larmes de la paupière Sèchent d'elles-même à nos yeux,

Comme un rayon d'hiver essuie, Sur la branche ou sur le rocher, La dernière goutte de pluie Qu'aucune ombre n'a pu sécher.

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"Richter suona" di Corrado Grandis

February 23, 2016, 11:20 am

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R i c h t e r s u o n a...

Foto di Cristian Sterbet (facebook)
cristiansth (instagram)

di CORRADO GRANDIS

A Slava,16 febbraio 2016

Nell'oscuro dell'anima, indicibile fuoco puro di azzurro. Hai avvicinato l'uomo alla purezza, demarcato concetti, e sconvolta l'anima. Ti sei reso libero dalla follia delle carceri, amato, ti sei genuflesso a chi ha scritto le note per te, al tuo secondo padre.

La Cathedrale debussyana è emersa dalle profondità delle acque, e dove la bassa marea ha lasciato detriti che alimenteranno la Storia di un abisso non più velato. Occhi hanno visto luce nel buio, oscurato dai volti che non sentono.

Stringhe nello spazio hanno disegnato punti multicolori e di forme fantastiche,
Suoni inudibili aperto padiglioni adagiati, e orecchi spalancati increduli.

L'azzurro cristallino degl'occhi tuoi ha sfidato assurdi massacri, difeso gli oppressi.Tradimento. Ferito nell'anima, delle meningi.
Artigiano, la tua umile Ankh è infiltrata nel buio di una cella a Joucques.

Corrado Grandis

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Nel Caucaso durante la Guerra con Šafarevič

February 29, 2016, 1:33 pm

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(Ai miei cari amici Siro, Giorgio e Piero)

“Святослав Рихтер. О музыке”

Durante la guerra, un aneddoto

Nellemontagne del C a u c a s o
con Igor Š.

[..]

Foto di Michela, splendida amica

Prima della guerra non avevo alcun problema a scalare nel Caucaso. Non c'era, naturalmente, senza dubbio; allora, a quei tempi scoprivo Mosca, i suoi dintorni. Ricordo, in particolare una passeggiata in un bosco, dove mi ritrovai ad urlare d'istinto come una belva, come in una sorta di riflesso atavico. Da solo, e improvvisamente: rrrrsssh! hououou! Come fosse una tigre, un leone o un lupo. Questo terminò tutto ad un tratto, all'istante in cui realizzai che stavo facendo qualcosa di strano, come conscio d'essermi trasfigurato in un randagio all'interno d'una foresta primordiale. Non vi è alcun significato speciale e collocabile, ma succede che questi riemerge nella memoria. Un'altra volta, ero in una spedizione, con il mio amico Igor Šafarevič, un futuro matematico. Successe cinque giorni dopo la proclamazione dell'inizio della guerra, mentre ci dicemmo: "La guerra iniziata? È il momento di andare, per questo c'è ancora tempo". Abbiamo voluto fare questa lunga camminata. Questo, non era privo di pericoli, ma eravamo sprovveduti. Avendo camminato per quaranta chilometri attraverso i boschi, abbiamo trovato una donna che di istinto ha cominciato a strillare. I contadini del villaggio ne furono allarmati e ci scambiarono per degli sabotatori o spie di Hitler, e ci portarono nella locale stazione di polizia. Il cognome scoperto sulla mia carta d'identità non mentiva, "tedesco". E leggendo quello della Šafarevič, 2] il capo della polizia, fu sorpreso: "Ma che diavolo è?"

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2 ] To reader. Shafarevich’s Early Years in the Young - Soviet State

© Tutti i diritti sono riservati ai legittimi proprietari. La fonte originaria viene sempre citata o collegata con un link alla stessa. In questo Blog OGNI citazione o riproduzione di brani/foto/immagini o di parti d'opere sono UTILIZZATI a soli fini di ricerca scientifico-artistica, il cui utilizzo avviene secondo finalità illustrative o di discussione e per fini NON commerciali. Nessun Adsens è introdotto, come altre forme pubblicitarie finalizzate al profitto. ** Traduzione dall'originale russo “A proposito di musica” О музыке di C.G. Edito in italiano da "Il Saggiatore" 2015

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Tonalità e guarigione: il Trono delle Quarta Ballata

March 4, 2016, 3:32 am

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T o n a l i t à e g u a r i g i o n e
Il Trono della B A L L A T A in fa minore Op.52
(C H O P I N)

A Cristian e Renata

Foto di Cristian Sterbet

□ Giorgio Pestelli□

...Quarta ballata (la più bella? forse sì) in una interpretazione commovente: modulazioni incredibili, fiori tematici a ogni passo, rovelli cromatici che alimenteranno interi capitoli di Wagner... (1986)

(La pulce nell'orecchio, Marsilio ed.)

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Sviatoslav Richter

Quando le suoni l'una dopo l'altra (le Ballate di Chopin), si ha la sensazione di elevarsi nell'aria, in un certo strato dell'atmosfera. Quattro Ballate...quattro firmamenti...
Nel quarto firmamento (la Ballata in fa minore), non vi sono che delle coccinelle e dei musicisti! Nessun'altro, tranne loro! Perché dei musicisti? Si capisce. Il cielo è intessuto di tastiere, e l'uomo di sette note. Ciascuna nota guarisce qualcosa. Il re bemolle maggiore è il più efficace per l'emicrania. Quando suonai per Nina L'vovna il Preludio in re bemolle maggiore, lei ne sentì sollievo. So che le allergie guariscono semplicemente con un re maggiore, ed il cuore con un si bemolle maggiore.
Solamente per me, basta l'undicesima Sonata di Beethoven.Nello stretto della Quarta Ballata (AUDIO) ci si avvicina al Trono.
"corona"
Bisogna trattenere la corona (punto d'organo ovvero punto coronato, trattiene il suono ad libitum), affinché la piccola nube latiscente lo sveli. Ma lo stesso Trono è vuoto. La coda devrebbe essere suonata come si cadesse in un precipizio. Che ti trovassi dal punto più alto. Che ti getti a terra, non è per sé grave, è anche piuttosto...piacevole! Io vorrei esserci la sempre! Prima di gettarsi nella coda, è necessario che si trattenga il respiro per 47 secondi. E bisogna prendere esattamente lo stesso tempo per suonarla, non di meno! E suonarla interamente, niente di meno! Suonando così tutto dall'alto, senza "cedimento" delle dita. Senza respirare! Tutti abbiamo bisogno d'essere travolti da un vortice d'aria.

Da Jurij Borisov

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La sérénade interrompue di Richter (disegno e ascolto)

March 8, 2016, 1:51 pm

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Claude D e b u s s y

A Gemma e Diletta

Particolare di gessetto su cartoncino: Sérénade Interrompue di Corrado Grandis. 2/2016

(La sérénade interrompue...) Modérément animé

In un impeto di fervore creativo, Debussy concepì una delle opere che segnarono il '900 musicale. I Préludes pour piano, Premier livre.

L'ascolto di uno dei Préludes come ➡ La Sérénade Interrompue, tratto dal Primo Libro, il numero IX, che vorrei proporre nella esecuzione di Richter a Spoleto nel 1967 (Link sopra), mi ha ispirato questo modestissimo gesso su cartoncino. Il tutto riflette nient'altro che le mie attuali emozioni (dunque perché dovrei pubblicare questo post?, non so). Non ho avuto alcuna formazione artistico-pittorica, solo una breve, ahimè, interrotta formazione strumentale. Studiavo chitarra classica, a 19 anni dovetti interrompere gli studi per problemi irrisolvibili della mano destra. Odio parlare di me, e trovo immense difficoltà sopratutto quando stiamo parlando di Sviatoslav Richter! Una brevissima descrizione simbolica del mio disegno puramente emozionale.
Il tutto nasce da una fase della mia vita, che fluttua verso altri orizzonti.
Lo studio strumentale -- chitarra classica -- viene interrotto a 19 anni...

(Il distacco fu per me assai doloso)

Il mio disegno a gessetto rappresenta a sinistra una figura umana distorta e fusa con una chitarra. A destra si raffigura una sorta di ostilità (ma se osservata da un'altra ottica, pur anche una figura femminile sensuale, provocante che protesa in avanti abbraccia il proprio ventre); la fine dello studio corrisponde alla Sérénade Interrompue. Il cui suono del pezzo di Debussy è quasi onomatopeico. Indiscrivibile. Una emozione uscita in 45 minuti di disegno e buttata giù così... spontanea, reale ed incompiuta.

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« È un tempio la Natura, dove a volte parole

escono confuse da viventi pilastri

e che l'uomo attraversa tra foreste di simboli che gli lanciano occhiate familiari »

(Charles Baudelaire, da «Corrispondenze», Les Fleurs du Mal)

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