Sviatoslav Richter’s unusually broad tempo for the Rachmaninov Concerto’s opening movement may raise a few eyebrows, yet it allows for an insidious transition into the famous second subject. Other revelations include the uncommon clarity of inner lines and motives glossed over by more famous conductors than Wislocki, plus the pianist’s fleet-fingered, rhythmically centered runs in the finale. As with the concerto, Richter’s translucent dispatch of six Rachmaninov Preludes (also recorded in 1959, but showing their age more) shines with profound insight. He also is one of the few pianists on record to fully observe Schumann’s dynamic indications in the treacherous Toccata. Philips’ remastering of this 1959 recording, however, reveals a conspicuous splice at the main theme’s recapitulation that may prove jarring. The pianist’s poetically etched Schumann Waldszenen and excerpts from Fantasiestücke, both mono sessions from 1956, are more clearly engineered than the murky C major Fantasy from 1961. I prefer Richter’s technically rougher but more communicative 1979 version to the pianist’s withdrawn instropection here. Too bad that the most miraculous playing in this collection suffers the worst sonics. Richter taps into Scriabin’s over-the-top idiom as few other pianists in history have done, and you’ll never hear the notorious Etude in Ninths (Op. 65 No. 1) played better. If you buy this set, make sure another Schumann Fantasy reposes in your larder.
