The repeats are OBLIGATORY for every m u s i c i a n
from 'Musiker im Gespräch: Sviatoslav Richter'
by Jürgen Meyer-Josten
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| 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.
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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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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.