Sviatoslav Richter was possibly the greatest Prokofiev pianist who ever lived. He had a unique way of unlocking the music’s pianistic beauty and poignant lyricism while still pushing its steel-edged rhythms to the proverbial max. If these previously unreleased live performances were the only existing ones of Richter in this repertoire (true only of the 20th Vision Fugitive), we’d have cause to celebrate. I’d accept, for example, the sometimes-shaky soloist/orchestra coordination, ill-defined balances, and constant low-frequency hum marring the Fifth Concerto. I’d make allowances for murky sound in the Second Sonata (Carnegie Hall, April 19, 1965), while forgiving the pianist’s atypical rhythmic jumpiness in the Sixth Sonata’s first movement (Budapest, April 29, 1963). But let’s face facts. Richter’s 1958 DG studio Prokofiev Fifth Concerto (with Rowicki and the Warsaw Philharmonic) is every inch as exciting and expressive a performance, with all the benefits of excellent studio engineering. The Philips Authorized Richter Edition offers the best combination of interpretation and sonics for Richter’s Prokofiev Sixth, but the Sixth and Second on Praga PR 250 015 are also worth seeking out. While Richter never programmed the entire Prokofiev Op. 22, this is the largest group of Visions Fugitives we have from the pianist (recorded July 10, 1962, in Kiev). He serves them up exquisitely, with luminescent tone, impeccable timing, and more than a jigger of sardonic bite. Richter mavens, of course, don’t need any recommendation from these quarters. The rest of the world might wish to sample before buying.
