This release captures Sviatoslav Richter at the height of his powers, recorded in 1965, several years after he began extensive touring in Western Europe. The all-Beethoven program presents two recital sessions: Sonata No. 31, recorded at Tours’ La Grange de Meslay on June 18, and Sonatas Nos. 18, 27, and 28, taken from a Lucerne concert on September 2 of the same year.
Given Richter’s vast recorded legacy, including roughly twenty versions of these Beethoven sonatas spanning the 1960s to the 1990s, the appearance of these tapes is not the major discovery implied by the album’s marketing. While not a landmark archival find, the release nevertheless offers listeners another chance to hear Richter’s artistry in prime form – something that is never without interest.
The playing here will be instantly recognizable to those familiar with Richter’s Beethoven, and his interpretations show remarkable consistency across the decades. Tempi are steady, transitions clear, and the architecture of each sonata is firmly sustained. The pianist’s command of tone, whether in quiet introspection or in vehement climaxes, is just as compelling as in his more widely circulated recordings. What stands out above all is the sense of tension he creates – an underlying charge that lingers in both lyrical passages and stormier outbursts.
From a sonic standpoint, the Lucerne recital is the stronger of the two. While the piano can harden in louder chordal passages, the recording captures much of the clarity and color that defined Richter’s sound world. The Tours Op. 110 suffers from a less refined balance, particularly in the upper registers, but the strength of the interpretation outweighs the limitations of the source. Applause are omitted.
Sviatoslav Richter (image: ©️ Paul Moor)
An informative booklet accompanies the release, including an essay by Jed Distler, an interview with pianist Elisabeth Leonskaja reflecting on Richter’s artistry, and editorial notes by Markus Kettner. These provide welcome context for situating the recordings within the pianist’s career and discography.
Ultimately, this album may not alter the broader picture of Richter’s Beethoven, but it does reaffirm it. These are performances from an artist at his peak, delivered with the mixture of discipline, concentration, and enigmatic intensity that defined his best work. Admirers will not find surprises here, but they will encounter the qualities that made Richter’s Beethoven so enduring. For those who value his unique approach, these tapes – lost or not – remain well worth hearing.
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Album Details |
|
|---|---|
| Album name | The Lost Tapes |
| Label | Deutsche Grammophon |
| Catalogue No. | 4795554 |
| Artists | Sviatoslav Richter, piano |
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