LESSONS BY SVIATOSLAV RICHTER AS A CONCERTMASTER
UDC index:
78.07
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Article ID in the RSCI:
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Information about authors: Yudin Aleksandr Naumovich, PhD in Art History, Associate Professor, Associate Professor of Department of Musical Instruments Training, Herzen Russian State Pedagogical University (St. Petersburg, Russian Federation). E-mail: u_rojala@mail.ru
Annotation: The gamut of outstanding pianist Sviatoslav Richter’s achievement was virtually unlimited. Vivid temperament, subtlety of sound nuances and unbelievable technical mastery made him one of the most brilliant solo pianists of the 20th century. As well known is his gift as an ensemble performer who in this quality performed alongside most diverse instrumentalist partners. The present article addresses a very special aspect of his artistic achievement, which with a degree of convention may be called “Sviatoslav Richter’s Third Profession,” namely, his concertmaster’s practice. Over his career, the pianist cooperated with many singers including N. Dorliak, G. Pisarenko, D. Fischer-Dieskau and many others. The extant audio and video recordings and the pianist’s numerous own utterances show that this sphere made an important part of his life. Of special interest in this connection are Richter’s diary entries, where he often discusses at length specific features of accompanist’s profession. Despite the subjective character of the author’s opinions, such entries are a most important source to deduct his artistic aspirations and his specific understanding of the concertmaster’s profession. All this will naturally contribute to the available knowledge of the Russian performance history. The publication may likewise be useful to graduate and postgraduate students whose studies pertain to vocal music or accompanist’s art. It is noteworthy, that despite this pursuit of the musician was seen, it was not thoroughly examined or made a part of a teaching course. Therefore, the present article is one of the sections in the teaching course “History and Theory of Concertmaster’s Art” and the first attempt to look into the working laboratory of Richter as an accompanist providing the additional clues to the master’s achievement.
Keywords: Sviatoslav Richter, accompaniment, concertmaster teaching practice, singers, piano accompanists.
DOI:
Article ID in the RSCI:
Article file: Download
Information about authors: Yudin Aleksandr Naumovich, PhD in Art History, Associate Professor, Associate Professor of Department of Musical Instruments Training, Herzen Russian State Pedagogical University (St. Petersburg, Russian Federation). E-mail: u_rojala@mail.ru
Annotation: The gamut of outstanding pianist Sviatoslav Richter’s achievement was virtually unlimited. Vivid temperament, subtlety of sound nuances and unbelievable technical mastery made him one of the most brilliant solo pianists of the 20th century. As well known is his gift as an ensemble performer who in this quality performed alongside most diverse instrumentalist partners. The present article addresses a very special aspect of his artistic achievement, which with a degree of convention may be called “Sviatoslav Richter’s Third Profession,” namely, his concertmaster’s practice. Over his career, the pianist cooperated with many singers including N. Dorliak, G. Pisarenko, D. Fischer-Dieskau and many others. The extant audio and video recordings and the pianist’s numerous own utterances show that this sphere made an important part of his life. Of special interest in this connection are Richter’s diary entries, where he often discusses at length specific features of accompanist’s profession. Despite the subjective character of the author’s opinions, such entries are a most important source to deduct his artistic aspirations and his specific understanding of the concertmaster’s profession. All this will naturally contribute to the available knowledge of the Russian performance history. The publication may likewise be useful to graduate and postgraduate students whose studies pertain to vocal music or accompanist’s art. It is noteworthy, that despite this pursuit of the musician was seen, it was not thoroughly examined or made a part of a teaching course. Therefore, the present article is one of the sections in the teaching course “History and Theory of Concertmaster’s Art” and the first attempt to look into the working laboratory of Richter as an accompanist providing the additional clues to the master’s achievement.
Keywords: Sviatoslav Richter, accompaniment, concertmaster teaching practice, singers, piano accompanists.
