Ludwig van Beethoven - Piano Sonata No. 23 in F minor, Op. 57 “Appassionata”: I. Allegro assai 
performed by Sviatoslav Richter (piano)

Prelude & Fugue No.2 in c-moll (BWV 847)

Bach (С.Рихтер)

Johann Sebastian Bach
Prelude & Fugue No.2 in c-moll
Sviatoslav Richter

this is a matter of opinion, but i think richter’s interpretation is perfection.

Scriabin Etude No. 11 in B-Flat Minor, Op. 8
Sviatoslav Richter

Triple Concerto for Violin, Cello & Piano in C Major, Op.56: III. Rondo all polacca

Sviatoslav Richter, Mstislav Rostropovich, David Oistrakh, Herbert von Karajan & Berlin Philharmonic Orchestra

Beethoven: triple Concerto for violin, Cello & Piano in C Major III. Rondo alla polacca - Sviatoslav Richter, Mstislav Rostropovich, David Oistrakh, Herbert von Karajan & Berlin Philharmonic Orchestra

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Ludwig van Beethoven’s Concerto for Violin, Cello, and Piano in C major, Op. 56, more commonly known as the Triple Concerto, was composed in 1803 and later published in 1804 under Breitkopf & Härtel. The choice of the three solo instruments effectively makes this a concerto for piano trio and the only concerto Beethoven ever wrote for more than one solo instrument. A typical performance takes approximately thirty-seven minutes.

Beethoven’s early biographer Anton Schindler claimed that the Triple Concerto was written for Beethoven’s royal pupil, the Archduke Rudolf (Rudolf von Habsburg-Lothringen).[citation needed] The Archduke, who became an accomplished pianist and composer under Beethoven’s tutelage, was only in his mid-teens at this time, and it seems plausible that Beethoven’s strategy was to create a showy but relatively easy piano part that would be backed up by two more mature and skilled soloists. However, there is no record of Rudolf ever performing the work—it was not publicly premiered until 1808, at the summer “Augarten” concerts in Vienna—and when it came to be published, the concerto bore a dedication to a different patron: Prince Lobkowitz (Franz Joseph Maximilian Fürst von Lobkowitz).

III. Rondo alla polacca

Dramatic repeated notes launch into the third movement, which is a polonaise (also called “polacca”), an emblem of aristocratic fashion during the Napoleonic era, which is, thus, in keeping with the character of “polite entertainment” that characterizes this concerto as a whole. The bolero-like rhythm also characteristic of the polonaise, can be heard in the central minor theme of the final movement.