Evening star., 1960-12-21

tuition Hall recital is commonly
associated with the interna-
tional piano virtuoso. although
none Of it can be played so
well by anybody who is not a
virtuoSo-that is, a master Of
the keyboard and a musician
Of extraordinary perception.
Because they are superficially
seasy," for example, the two
Beethoven SonataS, Opus IA,
are seldom heard on the con-
cert platform Beethoven did
not write them or any of his
ether sonatas primarily for the
concert PLATFORM. but only a
great pianist can recreate them
properly.
aRichter's intense preoccupa-
ton with the music he wants
to play, his apparent lack Of
concern for that part of his
audience interested primarily
in the usual repertoire, and,
above all. his careful selection
of an all-Beethoven program
made up entirely Of sonatas
from the composers early and
middle period. are remarkable
aspects of this phenomenal
pianist who overnight has cap.
tiVated every audience and
virtually every critic in Amer
ica.
If earlier this month we had
to accept him on his own terms
in music which. if not actually
esoteric, was at least not init.
rnately known to the average
music lover, last night we had
an opportunity to hear the
pianist in music which is uni
versally regarded as the basic
language Of the piano. How
then does Richter play Beetho-
van?
8. Quite Wonderful
The first sonata, Opus 2,
No. 3, was brilliant and dra-
matte in its outer movements.
The slow movement was simple
and lyrical throughout, except
for the one big outburst, Richter
esehewing the chance for a
passionate gesture by drama
tlzing the great melodic leap
at the end. The scherzo was
slower than usual. more rustic.
more carefree. I thought the
tempo and feeling quite Won
derful.
The startling thing about
Opus II, No. /, was the ex-
tremely slow pace Of the alle-
gretto-much slower than I
have ever heard it-making
the movement definitely elegiac
IN quality. 1t was not quite
convincing to my ear. A charac-
teriStic Of the first and last
movements is Beethoven's ex-
Fermentation with close thirds
low down in the bass. and
Richter with his magical con-
troll Of piano tone gave these
passages a color no other
pianist can visualize.
I The charming Opus IA, No. 2,
With its insouciant first move
ja1ent, its unforgetable varia-
lions (played by Richter quite
fast), and the finale with its
ambiguous metric layout, was
unsurpassable Beethoven play
ing.
l: After intermission. Richter
played the F major sonata,
Opus 81, one Of the most beauti-
tul Of all Beethoven's works,
and a piece which for extreme
individuality matches any Of
the late Sonatas, each of which
Is always thought of as sui
aeneriS. The first movement is
q minuet interrupted by a
violent. tempestuous canon in
0ctaves. After a fantastic
working out of this material,
the movement ends quietly with
q slightly different version Of
the minuet theme.
!: Richter was at his greatest
In his fusion Of the two con-
Nasting elements. He was also
At his greatest in the perpetuum
mobile finale, where neither
pianist nor audience can cath
q breath for five or six minutes.
I "Appassionata" Different
The "Appassionata" sonata is
left. Every great pianist of the
both Century is at home with
the "Appassionata." It is a
kreat work that we do well by
today, and any decided change
In its basic Interpretation runs
the risk of sounding perverse.
But Richter's first movement is
different and overpowering. It
is hard, fast, dry and driving,
terrifying rather than romantic,
bitter rather than melodra.
matte.
Richter uses a minimum of
pedal, makes no concessions to
the great clouds Of arpeggios,
and creates the most compelling