Brahms: Piano Concerto No. 2; Beethoven: Sonata No. 23 in F Minor "Appassionata"

I like it better than the also much-revered Gilels/Jochum recording: Gilels takes his time and is philosophizing around, but in the end he almost sinks in his own ideas. Richter's playing on the other hand is full of richness too, but never makes the piece excessively ponderous and storms right at the gates with utmost certainty. Similarly, Richter possesses all the power of a Serkin but avoids the latter's sometimes ugly neuroticism and his patronizing focus on rhythms. He takes about as many risks as Schnabel, but is pianistically more reliable. This all is not to say that we have the perfect recording of the Brahms here: pianists like Schnabel, Fleisher, Arrau, Brendel et al. show many insights for which Richter has no space. But if I were forced to keep just one, it would probably be Richter's (Schnabel is maybe the equal, but less good recorded).

There are many unforgettable moments here: the piano solo before the first orchestral tutti in the first movement blazes with fire and excitement - and complete technical mastery. I've never heard it played as good as here. And then the following piano entry after 3 minutes - Richter's fantastic, illuminating tone and sonorous basses shine through so well here. And then, in the following minutes, we get a demonstration of how to connect phrases almost effortlessly (perhaps this is what the editorial reviewer refers to, although he has come up with his usual nonsense as well). The marcato after 7 minutes once again demonstrates his technical skills, but also an incredible feeling for rhythm and excitement. The tender scenes are just that - and a look forward to the great slow movement. The second Allegro I'd say has the same fury as in Serkin's recording, but Richter is far more flexible and less dogmatic. Richter's approach to the Andante is rock-solid and unfussy; it is wonderful to hear how he is able to play without any mannerisms and yet generate the highest level of expression. In the Allegretto, Richter's sweet but powerful tone again does small wonders; he seems to shape many small and lively episodes within this movement that is sometimes treated as a perfunctory and dull conclusion. Not here; the Allegretto makes the ideal end for this hugely impressive recording.

I haven't spilled a word yet about the Appassionata on this disc, and it should not be left unnoticed that this, too, is a masterful performance. The first movement is boldly shaped, with lots of contrasts in tempi dynamics. However, it perfectly adds up in the end and it betrays that SR had a strong sense of architecture as well. The slow movement is done solemnly and with beautiful tone-coloring. And there's the famous last movement that runs at incredible pace - and still Richter never loses control. Yet good as this one may be, it is completely outshined by a live performance by Richter in Prague from one year earlier - there he drops all his caution and you'll get more passion in the opening, more life in the slow movement and a final that is about the most exciting piano recording made, period. But enthusiastic as I am about even that live performance, the greatest Appassionata on record I believe is by Claudio Arrau (Philips), who is more faithful to the original text and responds best of all to the complex characteristics of this marvelous sonata. So, the recording included here is a nice dessert, but the main thing is definitely that gorgeous Brahms which you just cannot afford to pass by. Here is one of the finest documents of Richter's playing, a must for every classical music fan.

Only recently have I become reacquainted with this performance of the Brahms Second Concerto and I've fallen in love with it all over again. It's hard to describe how Richter mesmerizes with his playing, but he does - not always, but often enough that it begins to seem almost like a supernatural talent he has. One thing you always know is that every note is considered in context; there is never anything routine about his playing. And I'm convinced that he had a monumental musical intellect to go with his fantastic technique.

In this recording Leinsdorf is a very sensitive accompanist and the Chicago Symphony give him everything he asks for, especially Robert La Marchina, the superb cello soloist in the third movement; not long after this he left the CSO and became conductor of the Honolulu Symphony. Leinsdorf could be a maddening conductor, unduly fussy at times and at other times rather mechanical. I never quite figured him out, although occasionally his recordings soared. And this is one of those.

I was not familiar with Richter's Appassionata until this CD. It is certainly brilliant, even titanic, but just a bit mannered for my taste. I still prefer the classic Rubinstein recording, although I also like Goode, Kuerti, Gilels and others.

I would not hesitate to recommend this remastering. The sound if just fine. And that Brahms - oh my!

Scott Morrison