Anna Ivanovna Trojanovskaja
1885-1977, painter
1885-1977, painter
 |
| 1940' |
excerpt from
"Sviatoslav Richter at the piano"
Soviet Documentary 1968
_____
Transl. by Zsolt Bognar
concert pianist
[..] Anna Trojanovskaja. She first met him in 1942. Anna is shown in her house.
AT:
”Such was the situation at the time that Richter had no piano or place to practice, so I offered him, ‘If you find that my piano is okay, go ahead.’”
[In later years this is where Richter would always practice, instead of in his own apartment.]
The piano, a C.Bechstein, is shown, complete with its cracked pedal.
Narrator: ”This is the room where Richter went to practice and this is the piano he used.”
Narrator: ”This is the room where Richter went to practice and this is the piano he used.”
AT:
”It was during the war. Sometimes, together we would get Irish potatoes and put them on the stove and boil them for a meal. It was so cold that the fire would sometimes die out, it was so small. In addition, the fire was our source of light. ”
”Slava practiced so compulsively that I thought he didn’t know the meaning of fatigue. This is one painting that I did of him.”
A painting by Anna of Richter at the piano is shown.
AT:
”This shows the movement of his fingers as they flew over the keys. I put a lot of effort into capturing this moment of Richter at the piano.”
”One day when he was completely accustomed to my house, he arrived with a bandaged hand. Immediately he got bored because he couldn’t play. I recall even now what he said to me at that time. From age 8 or 9, he drew pictures and then there was a time he thought he wanted to be a painter. He was confused whether to pursue painting or music.”
A portrait of Richter as a painter.
AT:
“So I tried giving him some pastels and some drawing paper. It didn’t seem he had much experience with landscape sceneries.”
Anna displays a house/window painting done by Richter.
AT:
”Here is a unique painting that he did here in my house. It’s wonderful. You could almost see a developing ‘Sviatoslav’ style, and that was the interesting thing about it.”
Anna displays various Richter paintings.
”There is a painting of a mountain behind her as she puts his works on a rack. There is one of Russian buildings by night, and a Russian church scene. There is a striking painting of buildings in Moscow."
AT:
”A perspective painting: the accent, the space, the method. In short, as far as painting, I thought the completed technique was there. Tone, shades, details. The sense was excellent.”
A village street scene is shown, followed by a dance painting.
AT:
”This painting represents his instinct about movement. This sense is essential to a musician. But as for me, this here is my favorite.”
Displays another painting.
AT:
”This was done after he returned from a local recital. From the window he spotted this winter scene of two trees against the winter colors and the snow. These are wonderful expressions of memories of that time.”
Another portrait of Richter as a painter.
AT:
“The expression of memories is the wonderful power of imagination. I always think about Slava. He would not have been able to bring out these elements in his music had he not had the ability to do all this.”
Part 2/6: from 5'16'' ...
"...Egli aveva dei concetti sullo spazio, sulla lontananza, sulla prospettiva che quasi sembravano elaborati da lui stesso, mentre aveva eccellenti il senso del tono e del colore. La cosa più sorprendente in lui – è l'istinto del movimento... Dipingeva esclusivamente a memoria sulla base dell'impressione. Aveva una memoria fenomenale. E anche l'immaginazione" - ricordava la pittrice moscovita Anna Ivanovna Trojanoskaja, allieva di Serov, di Pasternak [Pasternak padre, ndt.] e di Matisse, appassionata ammiratrice di El Greco, dalla quale il giovane Sviatoslav Richter non solo studiava sul pianoforte di Medtner, ma anche prese per un certo periodo lezioni di pittura.
« Musejon: La Casa di Richter » di Ljudmila Krenkel' e Rita Weber. Traduzione italiana di Valerij Voskobojnikov. Rev. di Giorgio Ceccarelli Paxton.