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In Reply to: RE: rach 2 has a near definitive recording (IMO) posted by DrChaos on October 04, 2020 at 23:50:08
Other than his wonderfully explosive first half of the thrid movement I find this to be a classic case of a woefully heavy handed verticle performance with serious issues of irratic and sloppy tempos and dynamics. And this is yet another example of rubato that is way over the top. So much so that it interferes with the melodic content.
Edits: 10/05/20 10/05/20Follow Ups:
A bit...melodramatic?
View YouTube Video
Hi John, enclosed is another remastering of the same recording, do you feel the same with this one?
the same passage
If Richter's was a Live performance, no big deal but a bit annoying IMHO upon repeat listening.But not to make an Alpine Symphony out of an El Salon Mexico though. There's a performance out there for everyone's taste.
Edits: 10/06/20
/nt
Greatest pianist of the twentieth century.
(BTW, I've played this concerto with plenty of people who take a similar level of rubato in that final "apotheosis" section. You'd think that this kind of rubato might throw off the orchestra, but it's surprisingly easy to keep the ensemble perfect with the soloist - or maybe I was just used to it from listening to the Richter recording so much - LOL!)
I mean, if you think that this level of rubato is excessive, what do you say about the "old master" pianists like Paderewski and de Pachmann? (Ever heard the latter's Chopin Second Impromtu? At the very least, it's fun!)
I'm falling out of love with the Lortie Chopin Ballades for the same reason but he doesn't apply the "stop and go" routine elsewhere. Except for some of the Mazurkas.
But then there's the Chandos sound.
AHHHHHHHHHHHHHHHHHHHHH!
There is no way to prove it but I think Richter was just plain not in control when he recorded his Rach II. Just take the opening chords. the progression is clearly not in time and the dynamic build is totally uneven. What does this convey? I can't think of any artistic reason for him to do that. How would we distinguish this as an artistic choice from just plain sloppiness? And it relation to my Lang Lang reference, at what point do we get to say "you made a crap artistic choice" to an artist?
. . . someone made a crap artistic choice. But a critic becomes more or less credible depending on his reasoning for such a judgement, and how convincing those reasons are to others. Or even more to the point, can others replicate the experience of the person making the original aesthetic judgement?As for the opening of the Rachmaninoff in Richter's performance, I don't agree that the dynamic build is uneven (i.e., I can't replicate your experience for myself). Yes, he does take an unmarked accelerando at the end of that section - I find that imaginative, even exciting. I also think that there are tons of differences between Richter's playing and Lang Lang's. Take a listen to Lang Lang's Goldbergs and let us know what you think - for me, he's not even on the same planet as Richter.
Edits: 10/05/20 10/05/20
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