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On the centenary of the birth of Russian pianist Sviatoslav Richter, I am delighted to present a series of recollections from pianist friends and colleagues, readers of this blog, those who met and knew Richter, and many others around the world.

The internet has proved a fantastic resource for sharing favourite recordings, video clips, quotations, ephemera and reminiscences of Richter. Thank you to everyone who has contributed. To join in the centenary celebrations on Twitter, please use the hashtag #richter100.

His personality was greater than the possibilities offered to him by the piano, broader than the very concept of complete mastery of the instrument.
Pierre Boulez

He doesn’t hurry the first section, which creates a great tension with the string melody, and also the tonal colours he uses to bring out the inner voices in each movement. Definitely a most melodic Rach 2 (DR)

Richter’s 1958 Sofia Recital consists of (in my humble opinion) one of the greatest recordings of Mussorgsky’s Pictures at an Exhibition (ML)

This man, along with Glenn Gould, has changed the way I listen to the music.
( “Rachmaninov – Piano Concerto n°2” – Sviatoslav Richter & Warsaw Philarmonic Orchestra – DGG) (RU)

Richter’s Prokofiev performances in general, the 8th Sonata in particular. He plays as one who has lived through the bleak circumstances during which it was written. For me it is the combination of incredible control and restraint on the one hand and sheer bolshiness on the other that makes his playing so intoxicating. (PL)

His 1960 Moscow ‘Appassionata’ is my favorite recording of that work, which is arguably one of the most important works in the whole repertoire. The energy, speed, tonal range at the most explosive passages and general theatrical effect makes it one of a kind to me. And let’s not forget it is a live performance (like most of his recordings). There are other similar best-in-world achievements that combine athleticism with emotional expression, but always with moderation, refined taste and discipline, like Schubert’s ‘Wanderer’, Dvorak’s Concerto. In summary I would say that his performances in whatever genre was almost always world-class, which cannot be said of many other pianists, which, in combination with perhaps the biggest repertoire ever, creates an almost endless oeuvre for listeners to enjoy the whole life. (JN)
 
I have been in awe of Richter since my student days. His live recording of the ‘Pictures at an Exhibition’ has got to be the most staggering performance in the history of the medium. I would be quite happy to have one percent of his interpretive skills. (RI)
Apparently he hated testing pianos – that scary business when you go in to a piano showroom and everyone seems to be playing Liszt from memory and you can barely remember a C major chord – when proffered a test Steinway, he’d poke one note and then back off, looking startled. (RE)
The greatest pianist I ever heard. Why? Because of his fierce commitment, artistic integrity and sound. Even when at his most seemingly ‘perverse’ (Schubert tempi for example) he took you on the most unbelievable musical journeys. Shook hands with him once after a recital in Cheltenham and we spoke in German. Youngsters these days have no idea of the thoroughness of a training he enjoyed….playing on lousy upright pianos in freezing weather on the back of troop carriers in the war. He was largely indifferent to pianos though he displayed a curious penchant for Yamahas in the last decade or so of his life but generally he just played whatever was in front of him. I heard him, I suppose at his best from the mid-60’s on. A transcendental artist, and the film ‘The Enigma’ is essential viewing for anyone interested not just in him but in pianism generally. Not the man for all men though – Brendel told me that when he was listening to SR playing Schubert’s G major sonata live (on radio) from the Royal Festival Hall he wanted to hurl the radio through the window. This probably tells us more about Brendel than Richter. Essential viewing also – Richter’s performance with Rostropovich of the complete Beethoven cello sonatas from the Edinburgh Festival – a hastily arranged, last-minute concert starting (I think) at midnight! Available on dvd. If I had to choose only one pianist’s recordings to take to my desert island it would be Richter. (JH)
I had a privilege having Slava as part of music upbringing through his many LPs, as I may humbly mention my mom has studied and gained her Masters with Heinrich Neuhaus in Moscow Tchaikovsky Conservatoire in the 60s.

As I have studied with my mother, I was raised with Russian School, for which I feel humbled and honoured, as at its time had produced such an array of brilliant players, particularly mastering tone production and voicing.

Of course Slava was one of a kind, just as Heinrich described in every way and very often talked of his incredible artistry during his classes.

I may be wrong, but I personally find his Brahms Concerto No. 2, Franck Prelude Chorale and Fugue and many of Liszt, Schubert, Beethoven, Rachmaninov and Chopin absolutely mercurial and I may imagine, awesome to behold. (DG)

Richter! Takes you by the hand and leads you where only he knows…. (AM)
…the unique atmosphere of a Richter concert. The audience in darkness, the imposing profile, the solidity of the sound, the savage beauty of the interpretation…truly a cataclysmic event, quite outside the usual parameters of the ‘piano recital’ (JL)

I first heard him at the end of my first term at the RCM. Dec 7th 1970. Sat on the platform about 5 yds from the keyboard. The memory of that evening is still so strong. I had never before, and rarely since, witnessed such astonishing playing. Simply spell-binding. The power of Schubert D958 and the alarming speed of the finale was electrifying. Then wonderful Bartók and Szymanowski, and the concert ended with a breathtaking Prokofiev 7th Sonata. I wanted, in equal measure, to rush home and practice and to give up and never play again!

He could sometimes infuriate but at his best he was beyond compare. I feel privileged that I heard him live on many occasions but nothing matched up to that December evening in 1970. (CB)

It’s precisely Richter’s certainty, his integrity, the fact that music seems to speak with an Olympian objectivity at the same time as an impossible-sounding lyricism and sustained tone (listen to his extraordinarily slow yet convincing Schubert sonatas), without ever a shred of indulgence in virtuosity or sensuality for its own sake, that makes these performances definitively Richterian. That’s the point about his musicianship: its strength of conviction and imagination makes you believe when you’re listening to him that this really is the way the music has to go, that what you’re hearing truly is the fundamental core of these pieces.

(Tom Service, The Guardian – 10 of the best: Essential Richter recordings)

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Guest post by A Piano Fan

I have no personal reminiscences of getting to hear Richter live or meet him. I don’t even remember how I “got into Richter,” when or where I first heard what, but he’s become my favorite pianist. What stands out to me about Richter’s pianism is the amazing combination of structural control and emotional conviction. From his ability to sustain the narrative of a 25-minute long Schubert sonata movement to his ability to impart so much motion into a flourish that it threatens to fly away – there is always something deeply impressive about his performances. I would say I really learned to appreciate piano performance through listening to him. Even in small details – such as the voicing of secondary lines in chords, as in this moment from Rachmaninoff’s Second Concerto: https://youtu.be/uT_ZhhQeudY?t=4m4s , or subtle pedalling in apparently simple music: https://youtu.be/POmD0N9WJ08?t=3m29s

Or in moments of complete apocalyptic piano destruction, as in the coda of his Chopin 4 ballade https://youtu.be/v9Dc2u7P1d4?t=32m35s . I also learned that the piano version of Pictures at an Exhibition is better than any orchestration: https://youtu.be/CitIXrkQfzo?t=26m23s

But what draws me most to his playing is the sense of depth and weight he imparted to so many pieces, as in the mystical adagio of the ‘Hammerklavier’, https://youtu.be/dlwK3IIT6jo?t=53m51s.  And the epic amounts of tension approaching a climax – as in the Liszt Sonata (https://youtu.be/2UFnqYT6DyU?t=3m58s now to me it sounds as though every other pianist rushes that passage). I came to appreciate long structures, even in those meditative, super-slow Schubert sonatas movements https://www.youtube.com/watch?v=E7_OW2__ZR0 I have no idea know how I used to listen to the piano performance, but Richter transformed my ears – and in such a wide variety of repertoire! These are a just few of the reasons why I consider him the greatest pianist of the 20th century.

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DSC_00032Who or what inspired you to take up composing, and pursue a career in music?

In some ways, I feel I’ve always been a composer. When I started piano lessons age six and had my first keyboard, I was far more interested in making up my own tunes than I was practising the ones the teacher gave me. My piano teacher was very willing though, and more than happy to try and notate my early efforts as a composer! One of the things I’ve always been very comfortable doing is improvising and inevitably, that’s where a composition begins. I think there are really two reasons for this: one is that I started accompanying pretty early on; as far back as the top of the junior school I was able to accompany singers and instrumentalists, and as any accompanist knows, the ability to cover a gap, invent an introduction or rescue the soloist is hugely valuable. Secondly, and really following on from this, at the age of 14, I took on the role of church organist, a role which I filled for 12 years. It was at this point where composing became a bit more important as I felt increasingly confident in writing pieces for the groups and ensembles I was working with.

I continued to develop my composing while I was at school, and I was lucky to have music teachers who encouraged and valued this skill (a skill which it seems to me is so-often seen as second rate to performing). I think the pinnacle of this came when in the Upper 6th I was asked to compose the anthem for the school’s Founders’ Day service. I set a text by Ronnie Wilson titled ‘The Time We Have is Precious’ and it was sung by the school choir in Gloucester Cathedral in July 2002. As for composing becoming a career, I guess this was when I first thought about submitting my compositions to publishers. I knew these pieces worked with the individuals and groups I’d composed them for, and I guess I was curious to see whether publishers would feel the same. I think I had my first pieces, Five Fanfares (Fagus Music) accepted in 2004, and as they say, the rest is history!

Who or what were the most significant influences on your musical life and career as a composer?

It’s hard to get away from being influenced by the music we enjoy listening to and playing. Several people have commented over the years that my writing is very ‘English’; not particularly surprising to me as I listen and enjoy an awful lot of English music: it’s part of who I am and it seems natural that it should influence my writing as a composer. Secondly, I think we’re heavily influenced by the musical activities we’ve been and are involved in. My experience has generally been working with amateur ensembles and choirs, often with very limited resources; my teaching also influences what I compose as it gives me an insight into the educational value and appeal of the music I write.

What have been the greatest challenges of your career so far?

I guess the greatest challenge is persuading people that your music is worth trying. Many of the schemes for composers and indeed the emphases in university courses has been to write ‘new music’. This ‘new music’ is, I guess, the music which the BBC commissions for the Proms and leaves out of it is television broadcasts in favour of the ‘classics’. I have, on more than one occasion joked that if I wrote a concerto for empty wheelie bin and silent cymbals, it would be performed and lauded everywhere! I’m not really sure what this ‘new music’ is we’re supposed to write, but I know that the music I write is ‘me’. That’s not to say my compositional style doesn’t change and develop, but it’s still essentially ‘me’: possibly one of the greatest challenges is therefore staying true to oneself? The music I write is, shall we say, pretty conventional? Over the last 10 years, I found in particular that the UK is very conservative in trying things by lesser-known composers; we seem to be very concerned by the composer’s ‘name’ in the UK. Publishers have their ‘house’ composers, something which is not so much the case in the USA where they’re very much more concerned with what you write rather than who you are. This is possibly why the majority of my music is published overseas.

I think that there is huge potential in the internet and social media to get music out there and known, but I also think it has its disadvantages. It’s easy for people to ‘Like’ or ‘Retweet’ your music, but it’s another thing to actually put your money where your mouth is and buy it.

What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras?

There is always a balance to be struck between accessibility and challenge. As I say, I have worked almost exclusively with ‘amateurs’ and I think the music I write reflects that. That, of course, doesn’t mean the music has been dull or boring, but it does have to take into account the skills and abilities of particular groups and individuals. I want performers to enjoy the challenge of learning something new, but I would never want them to lose sight of the act of enjoying making music. Too many challenges in a piece then you’re in danger of being on the wrong side of that line.

Which works are you most proud of? 

Gosh, that’s very difficult to answer! In some ways, I’m proud of them all because they all start from nothing. There are plenty of ideas and melodies which never go anywhere, so finishing a piece is hugely satisfying. I guess we can be proud of pieces for different reason: I’m proud of A Celtic Blessing (GIA Publications, Inc.) not only because it has sold well over 3,000 copies, but because several recordings have also appeared on YouTube (all from the US). It’s lovely to see that something you’ve written is being enjoyed and, more importantly, used. I’m proud of my solo for flute and piano Imagination (David Barton Music) because it was the first piece which generated a PRS royalty! Maybe I’m even more proud of the performers who are willing to give my music a fair hearing?

Who are your favourite composers?

I’ve always enjoyed a hugely diverse range of composers; Walton, Britten, Vaughan Williams, Bax, Moeran, Holst, Howells and Stanford all spring immediately to mind. I’ve always enjoyed early music: Byrd, Tallis, Victoria, Josquin and Penalosa. There’s the tunefully enjoyable Gilbert & Sullivan, and I’ve also a huge respect for light music composers and arrangers: Farnon, Tomlinson, Binge and Morley.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

I know it sounds so simple, but people should listen to more music. I recently catalogued my CD collection: there are over 6,500 individual tracks…that’s a lot of listening. I am always discovering new music. So often, I’ll hear something on BBC Radio 3 or Classic FM and I’ll be off to buy it straight away. I think, alongside that, always being open to unfamiliar music. I think I’ve always been far more interested in individual pieces than a composer’s entire output, so there aren’t really any composers I ‘don’t like’; amongst their output, there are nearly always a few pieces which I do enjoy.

Secondly, and I’ve mentioned it already, staying true to yourself is important. When you compose, like any creative act, you have to give a bit of your inner-self; your compositions take on some of your identity. By all means push the boundaries and challenge conventions, but don’t try to be something you’re not.

Advice for aspiring composers? I think, above all, compose. Sounds ridiculous, but get composing. I think you need to be composing on a regular basis, and where possible, getting feedback on your writing. Don’t just write because you need to produce an A-Level composition; write because you enjoy writing. I have come across students in the past who want to study composition at university, but have only written four compositions: two for GCSE, one for AS Level and one for A-Level. Also, don’t spend so long planning for and dreaming about the next piece that you never get round to writing it. Getting started is the hardest part (the second hardest part is thinking up a title for your piece, but that’s another story…) Start by writing things for people you know or groups you have a link with.

Where would you like to be in 10 years’ time?

Interesting question! I don’t know many composers who are in it for the money, so in 10 years’ time, making more money from composing would probably be a bonus! I think that above all, I hope I’m still doing and enjoying doing what I do now. I get an enormous amount of pleasure and satisfaction from composing, and I hope those to do buy and perform my music enjoy it too.

 

David was born in Winchester in 1983, and has been at the helm of award-winning David Barton Music since 2001. He combines a busy portfolio of teaching, accompanying and composing both from his base in Lichfield, and across the UK.

He was educated at The Crypt Grammar School, Gloucester, where he won prizes for both music and drama. He took a leading role in all the school’s musical activities including choirs, orchestras and chamber ensembles. He also played a significant part in the school’s productions including as musical director for Cinderella and Bugsy Malone. Whilst at the school, he continued his instrumental studies as a pianist, flautist and singer; he also gained the skills and confidence to be an effective accompanist. Whilst at the school he also learnt the organ, and in the latter years, led the music at the school’s assemblies. In November 1998 he played 2nd flute in Malcolm Arnold’s Little Suite No. 2 under Sir Simon Rattle as part of the World’s Largest Orchestra at the National Indoor Arena in Birmingham.

David Barton Music was established during David’s last couple of years at school, and since leaving, he has developed a successful career as a teacher, composer and accompanist. He graduated with a BA(Hons) Open Degree in 2008, and a MEd in 2010, both with The Open University. He also holds the DipABRSM in Piano Teaching and the CertGSMD(T) in Flute Teaching. He was one of the first students to graduate on the Royal School of Church Music’s DipRSCM in Sacred Music Studies course. As a composer, he holds the LLCM and ALCM diplomas from the London College of Music. He is currently reading for a PhD in Music Education at the Institute of Education, University of London.

David has over 100 compositions and arrangements published in the UK, USA and Canada, and thousands of copies of his music have been sold worldwide. These include works for solo voice, choir, organ, woodwind, orchestra and chamber ensembles. Regular performances, particularly of choral works, take place especially in the USA. Publishers include several major companies including GIA Publications, Inc., Spartan Press (Phylloscopus Publications) and Augsburg Fortress. David also typesets and publishes a number of pieces under the David Barton Music umbrella, and these are sold direct via his website.

David writes in a variety of styles, but mainly classical. His music is designed to be tuneful, generally easy-on-the-ear and accessible to a wide range of ensembles, particularly those with limited resources. A number of works have received favourable reviews in Church Music Quarterly, Clarinet & Saxophone Magazine, and Pan Magazine. In 2011, his setting of A Celtic Blessing was selected as one of the prestigious JW Pepper ‘Editor’s Choice’ for that year.

More about David and his music and teaching on his website

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On the 24 March Sir Neville Marriner will unveil a commemorative plaque in central London to celebrate the work of the composer Joseph Haydn.

The plaque is the first dedicated to Haydn in London. When he visited for the first time in 1791, the composer was at least as popular as his contemporary, Mozart. Though Mozart has three plaques in London, Haydn had none, despite fifty years of attempts to establish one.

Now, taking inspiration from the successful subscription concerts of his day, the Haydn Society of Great Britain has raised funds through a crowdfunding campaign to commission and install the plaque. In addition to Sir Neville Marriner, both the director of the Haydn Society Denis McCaldin and the Austrian ambassador will speak at the unveiling.

The Haydn plaque will be unveiled at 18 Great Pulteney Street, Soho, London W1F 9NE in Soho on 24 March at midday (12pm), a week before the composer’s birthday.

haydnsocietyofgb.co.uk