The renowned pianist Sviatoslav Richter, despite his aversion to studio recordings, stands out as one of the most extensively recorded musicians of the 20th century. While his studio sessions were prolific, it was the vast array of both official and unofficial recordings from his concerts over a span of four decades that truly enriched his discography. This extensive collection includes numerous interpretations of many cornerstone pieces in his repertoire.Thus, the recent unveiling of “Misplaced Tapes” might not initially appear significant. However,these performances feature four Beethoven piano sonatas—Opp 31 no 3,90,101,and 110—captured during Richter’s recitals in 1965. Notably,Op 110 is derived from a concert at a piano festival he established the previous year at La Grange de Meslay near Tours; the other sonatas were recorded live in Lucerne just three months later.
While there are existing recordings of all four sonatas within current catalogs, these particular renditions possess an immediacy that is strikingly fresh. Richter was never one to simply replicate interpretations; rather, he approached each piece with renewed vigor every time he performed it—constantly uncovering new nuances whether it’s the exuberance radiating through Opus 31’s third movement or the intricate colors he infuses into Opus 101 or even the serene yet profound gravity with which he presents the fugues in Opus 110’s finale.
The original recordings were captured by engineers from Deutsche Grammophon who followed Richter throughout Europe during that year; they have since been enhanced for this release. However, achieving an ideal piano tone has proven more challenging—especially evident in performances from Lucerne where it sounds bright yet somewhat shallow reminiscent of mid-nineteenth-century instruments—a quality that slightly detracts from some aspects but does not overshadow his exceptional artistry.
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