"Sputnik" 1976, "Richter phenomenon" does not lie in technique

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That evening* he played as always, with inspiration and passion. Anyone who has been fortunate enough to hear Richter play, must have asked himself the question: what is the source of this pianist's extraordinary impact on people? Perhaps the secret lies in his virtuoso technique? There is no doubt that Richter's technique is superb. However, paradoxical as it may seem, listeners usually do not notice it. At his concerts it is usually referred to last. His playing may thrill, perturb, touch, but the technical aspect remains imperceptible. The most difficult compositions are performed with rare ease and freedom. In other words, the key to the riddle of the "Richter phenomenon" does not lie in technique. Perhaps what he plays is the clue? As is well known, the musician's repertoire is truly limitless. The posters advertising his concerts encompass practically the entire spectrum of piano music in all its wealth of styles and trends: Bach, the Viennese classics. West European romanticism, French impressionism, Russian music of the 19th and 20th centuries, works of Soviet composers. However, not a single musical critic has yet succeeded in proving that the pianist has a preference for anyone in particular — Bach or Shostakovich, Beethoven or Prokofiev. It was not his repertoire that brought him world fame. And when people try to single out the "main element" in Richter's art, they come to the conclusion that he is not only a pianist, but also an artist, a poet, a performer in the broadest sense of the word. And what is most unusual is that he enters into the spirit of the composer to such a degree, into the structure of the music, that the impressit is created that each time you ai listening to a different pianist. He renditions seem unique, the way the composer must have meant them sound, pristine, the only true interpretation. The Richter that plays Haydn is quite unlike the Richter that plays Schumann. Everything is different — the piano, the sound, the expression. Not only the colouring changes but the manner of play Richter himself changes. Once he said about himself: "I was a lot, I am omnivorous. Not because I am vain or that I scatter myself. Simply because I love a great mai things and the desire to convey everthing loved by me to the listener never leaves me." Constantly changing, Richter alway remains himself; he has never imitation anyone.When he graduated from school he took a position as pianist at the Odessa Opera Theatre. He intended to become a conductor. However, his love for the piano took the upper hand. At the age of 22 he decided to go to Moscow. In the summer of 1937 a slender young man with a large head, domed forehead and light blue eyes walked into the Moscow Conservatoire and asked Professor Heinrich Neuhaus, one of the best Soviet pianists and music teachers, to give him an audition. He played with restraint, accen- tuatedly simply. Some 30 minutes later the experienced Neuhaus whispered to a pupil sitting nearby: "I think he is a genius . . ." Richter was accepted into the conservatoire. But there, too, he did not study like the others. Neuhaus, who exerted an enormous and beneficial influence on Richter, said that "as commonly understood, I had nothing to teach Richter," and that "in my relations with him I took the position of an advisor. My admiration for the talent of my pupil and my delight grew from lesson to lesson." As a person Richter is extremely simple and modest. There is not the slightest suggestion of conceit. His appearance? He has the forehead of a thinker and the powerful shoulders of a labourer. By the end of a concert he is visibly fatigued : the skin is stretched tautly over his face, the features are sharper, more chiselled. Richter enjoys travelling. He calls it travelling whether he journeys to Jaoan or goes for a stroll in the forest. He knows the country around Moscow as well as he knows his own library. He can tell you how many Wometres it is between one village and another which you might name at random. He is somewhat reserved, but very observant and active. Once, in a suburban cafe he noticed a lout pestering a girl. Without hesitation Richter grabbed him by the collar and flung him out the door. He grabbed him so hard that he broke his finger. Luckily, the bone knitted without complications. Svyatoslav Richter has performed in 20 countries and 75 cities in the Soviet Union. Someone wrote in the American press that he played with 10 hands. The French retorted that he played with 10 heads. The Italians summed up by saying that he played with his whole being. Richter's concerts are looked forward to in all countries of the world. He has received the Lenin Prize, one of the highest honours in the country, he is a People's Artist of the USSR, and quite recently he received the title of Hero of Socialist Labour. The pianist has been awarded scores of honorary diplomas from from the most diverse societies and organisations. One might think there is reason enough for him to alter. But he has remained the same simple and modest person that he always was. He is humanly responsive and childishly trusting. As before, he is fond of nature, painting, and when time permits, likes to draw. As in the past, though now at home, in his flat on the 16th floor from which there is a magnificent view of Moscow, he organises theatrical evenings with charades, performances of new works, exhibitions by artist acquaintances. Someone has said that Richter has set the date when he plans to retire from the stage, that he will not permit himself to play less well in public. But Richter is now over 60 and his talent is just as powerful and vivid. And today, as yesterday and no doubt, tomorrow, the arguments about the "Richter phenomenon" flourish. Is he thinker or poet, classic or romantic, who is his favourite composer? Svyatoslav Richter is an era in art, not only Soviet, but world art.

 

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