I am so glad that I did because it just proves again that one should never be fooled by a ridiculous looking front-cover, because it gave a chance to discover a real gem inside. There is one problem though, if you have heard the very best of Chopin Piano Concerto No.2 : every other recording/concert becomes only second best with a huge gap in between.īy the way: I remember noticing this record in a junk-shop and the cover looked so meaningless with a colourful ridiculous-looking fan at the front and I remember wondering whether I should bother to buy it or not, but fortunately my curiosity took over and I bought it for a few pence. It certainly could not have been done any better. Everything on this record is just perfect: Malcuzynsky at his most sensitive best, together with the London Symphony Orchestra at their very best, tonality (humidity etc.) on the day of recording for all the instruments at its very best, together with the tone-engineers at their very best, in fact, in this recording everything is just perfectly “jellying together” on a perfect day. This recording is in my opinion still the absolute perfect recording. While not perhaps in the same exalted league as his best recordings - the Scherzi seem somewhat reserved and the preludes seem more than somewhat eccentric - still, these are Richter performances, and anyone who loves great piano playing will love them.I have heard many different concerts/recordings of Chopin Piano Concerto No.2, but the very, very best I have ever heard is definitely the LP (Music For Pleasure LTD, EMI Records Limited) recording from 1960 by Malcuzynski together with the London Symphony Orchestra under Walter Susskind. Of course, the performances by Sviatoslav Richter are outstanding. So, it makes sense to update my report from the Chopin workshop and to highlight a few problems in these editions. 39, are just now appearing in my new edition. In the first movement, for instance, Horowitz eschews the exposition repeat he previously observed and enlivens the bass lines with unexpected. They are reasonably clear but too distant and altogether lacking in immediacy. In the meantime, casually expressed, another 2 Scherzi later, 2 Scherzi more mature and clearly even more confused, alas. Vladimir Horowitz’s 1962 remake of Chopin’s Funeral March Sonata is quicker, lighter in texture, rhythmically steadier, and less pulled about than his earlier RCA mono version.
As remastered for Regis Records by Paul Arden-Taylor, these are neither the best nor the worst of reissues. Since then, the Scherzi have been reissued at least 15 times, and the preludes have been issued at least ten times. The 13 Preludes were recorded in Tokyo and Yokohama in March 1979 by Takashi Wantanabe for Mezhdunarodnaya KNIGA and first issued in the West under license by what was then called Vox Classics in 1982.
How many times have these recordings by Sviatoslav Richter of Chopin's Scherzi and selected preludes been issued? Who can know for certain? The Scherzi were recorded in Munich in July 1977 by Ariola-Eurodisc for Mezhdunarodnaya KNIGA and first issued in the West under license by what was then called Columbia Records the same year.
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