This towering Russian pianist made it his mission to convey Mussorgsky exactly as written, but to embody in his performance of the unadulterated score all the emotion and philosophical great-heartedness that others try to achieve (usually unsuccessfully) through embellishment. Richter regarded Ravel’s transcription as “an abomination, a decorative travesty of the most profound masterpiece of Russian piano music”. His own interpretation offers what the filmmaker Bruno Monsaingeon described as a “wild and intractable purity”. It’s some of the most extraordinary piano playing you could hope to hear. His ‘Catacombae’ magically transforms every chord into a great cave, seeming to achieve that supposed pianistic impossibility, a crescendo in mid-resonance. Baba Yaga has a terrifying, pagan, monolithic power – contrast this with the delicacy of the unhatched chicks and the innocence of the Tuilieries children. In the grand finale the radiant carillon of Kiev and the evocation of Russian orthodox choirs behind cathedral screens are unforgettable. There’s a conceptual scale to Richter that goes beyond what most pianists can imagine: he throws himself into Mussorgsky’s truth and fuses with it.
Interviewer: "Please tell us about yourself. How do you live? Where did you spend your summer?" Richter: "I have a small house on the river Oka. I lived there during the summer, close to the water and far from people, four kilometers from the nearest village. There I was surrounded only by nature, the forests, fields, the air... this I enjoy tremendously. There everything is natural, tranquil, and I have no distractions or worries. One can bathe in the nude. If a thunderstorm comes, one experiences the elements very close-up: the house is of wooden construction, and when the rain patters on the roof, to be inside is like being in a dream."
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