Helpful votes received on reviews: 73% (36 of 49)
Location: London


Top Reviewer Ranking: 4,555,679 - Total Helpful Votes: 36 of 49
Schubert - Piano Sonatas, D575, D625 & D664 ~ F. Schubert
14 of 15 people found the following review helpful
5.0 out of 5 stars Playing of genius, 21 Sep 2001
According to Richter himself, he was the first pianist to play the Schubert piano sonatas in public.
This disk is a recording of a London recital he gave in the late 1970s and, to my mind, is the best Schubert playing I have yet to hear.
I was struck immediatedly by the incredible shine, balance and purity of the performances: even though the hallmarks of the Richter personality are there, I was made to feel that I was listening to Schubert himself rather than the pianist.
And it is this purity of interpretation which, for me, was Richter's most important and most elevating trait. One found it in him more than in any other pianist I have heard.
Chris Harman.
Liszt: The complete music for solo piano, Vol. 04 &hellip ~ Leslie Howard
8 of 10 people found the following review helpful
5.0 out of 5 stars Howard in great form., 15 Sep 2001
There have been numerous complaints about the quality of Howard's piano playing for his Liszt series.
This is sometimes justified because his performances can be below par in two main ways. Firstly one senses sometimes that Howard lacks not only a desireable but often necessary level of mastery. Here I am thinking of the lesser known works - works which often deserve to be lesser known. So a lack of commitment or a simple lack of practice could explain these pitfalls. This is understandable if not forgivable.
Secondly, there is the issue of Howard's interprative insight - his playing can be boring and elephantine: a certain plodding quality can creep in.
But, here we have a… Read more
Beethoven: Piano Sonatas Op. 109, Op. 110 & Op. 11&hellip ~ Ludwig van Beethoven
14 of 24 people found the following review helpful
These works are indeed profound, so much so that even a performer like Andras Schiff, now almost 50 years of age, hardly feels ready to approach them.
Kempf here displays a wonderfully acomplished piano technique but, at the same time, lacks any deep and convincing affinity with the psychology of the pieces and, at times, betrays signs of a lack of commitment, even flippancy.
Take, for example, the start of op.109, is it really in keeping with the character of the piece to treat the broken chord linking the opening flourish with the preceeding slower mood with such youthful, careless abandon?
And, doesn't the phrasing of this ensuing section just reek of Academy-boy-itis… Read more