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Beethoven: Sonatas Nos. 18, 27, 28 & 31: The Lost Tapes
Sviatoslav Richter (piano)
Awards:
-
Gramophone Magazine, September 2025, Archive Issue of the Month
Overall, in the face of such imaginative music-making, one forgets the less than optimal sound of the instruments. It's wonderful to hear Richter again.
Beethoven: Sonatas Nos. 18, 27, 28 & 31: The Lost Tapes
Sviatoslav Richter (piano)
Purchase product
Awards:
-
Gramophone Magazine, September 2025, Archive Issue of the Month
Overall, in the face of such imaginative music-making, one forgets the less than optimal sound of the instruments. It's wonderful to hear Richter again.
About
For sixty years, previously unreleased live recordings of pianist Sviatoslav Richter playing Beethoven’s Sonatas Nos. 18, 27, 28 and 3 at the Tours and Lucerne Festivals in 1965, have slumbered in our archives. Recently discovered and carefully restored by Emil Berliner Studios, these are now being released for the very first time.
Like many other artists, Richter felt that he could play more freely and give better performances in the concert hall rather than in the studio. These tremendous recordings reveal Richter at the pinnacle of his powers as a pianist. The performances show a strikingly modern approach that never shies away from taking risks to express the music in its furthest extreme.
Contents and tracklist
- Sviatoslav Richter (piano)
- Recorded: 1965-09-02
- Recording Venue: Kunsthaus, Lucerne
- Sviatoslav Richter (piano)
- Recorded: 1965-09-02
- Recording Venue: Kunsthaus, Lucerne
- Sviatoslav Richter (piano)
- Recorded: 1965-09-02
- Recording Venue: Kunsthaus, Lucerne
- Sviatoslav Richter (piano)
- Recorded: 1965-06-29
- Recording Venue: Tours
Awards and reviews
-
Gramophone MagazineSeptember 2025Archive Issue of the Month
September 2025
Overall, in the face of such imaginative music-making, one forgets the less than optimal sound of the instruments. It's wonderful to hear Richter again.
12th June 2025
each work was approached afresh each time he played it, always finding something new, whether it’s the joy that courses through the third of the Op 31 set, the myriad colours and subtleties he brings to Op 101, or the serene, almost liturgical seriousness with which he presents the fugues in the finale of Op 110.