Sviatoslav Richter - Richter: The Authorised Recordings - Chopin, Liszt (1994)

In 1994-95, Philips released a 20+ disc box set titled Richter - The Authorized Recordings. Each volume was divided up by various composers, and recordings ranged from 1963 - 1992. This album is a 3 disc set that contains works by Franz Liszt and Frederic Chopin exclusively. The recordings range from 1966 to 1992, most of which are from recitals in the late 80s. At this point Richter’s career was certainly closer to its end and the reigning virtuoso he was the 50s and 60s was clearly on decline as is common with most aging pianists.

In some cases Richter’s shift in style as a pianist really matured and was at their best, particularly in respects to composers such as Schubert. In the case of Chopin and Liszt the results are not as impressive, though this is not too surprising as these composers require a great deal of skill to play. What makes this set tough to recommend is that many of the works he performs do not compare to earlier recordings he had done for other labels in the past. For instance, the Chopin Etude No. 4, Op. 10 recording clocks in at 2+ minutes, while his blistering account for Supraphon in Prague clocks in at nearly 20 seconds faster. Speed is not something that should be the only thing considered for pieces of course, but in the case of Richter and Chopin, this was one of the aspects that made him so unique. Similarly his Etude No. 3, Op. 10 rendition comes off as fairly flat and does not have the tempo fluctuations and crescendos he was able to apply in his earlier accounts. The Chopin preludes included, recorded in 1966 fare much better than the etudes do.

In the case of Liszt, the same type of issue arises. His Liszt Sonata comes off as safe and mild, and does not have the flair and excitement of the recording he did only months prior in Aldeburgh. The Transcendental Etudes do not even come close to the wild passion he displayed in his mid-1950s recordings. On the plus side, he does add to his discography the Mephisto Polka, the Scherzo in G Minor, and the Un sospiro concert etude.

Overall this album is best for those who are interested in Richter’s recordings in the latter part of his life. It should by no means be where one should start for Richter for either composer. All the works are played splendidly especially for his age, but the only downside is the bar was set so high for himself with his earlier recordings.