Description
| Mussorgsky: Pictures at an Exhibition [29:40] |
| [1] Promenade – Gnomus 337 |
| [2] Promenade – Il Vecchio Castello (The Old Castle) 5:10 |
| [3] Promenade – Tuileries 1:20 |
| [4] Bydlo 2:14 |
| [5] Promenade – Ballet of the Unhatched Chicks 1:42 |
| [6] Two Jews 1:43 |
| [7] Limoges Market – Catacombae – Con Mortuis 6:14 |
| [8] Baba Yaga (Hut on Fowls’ Legs) 2:50 |
| [9] The Great Gate of Kiev 4:46 |
| [10] Schubert: Moment Musicale in C, D780 No.1 5:40 |
| [11] Schubert: Impromptu in Eb, D899 No.2 4:12 |
| [12] Schubert: Impromptu in Ab, D899 No.4 7:14 |
| [13] Chopin: Etude in E, Op.10 No.3 4:08 |
| [14] Liszt: Valse Oubliée No.1 in F# 2:50 |
| [15] Liszt: Valse Oubliée No.2 in Ab 5:45 |
| [16] Liszt: Etude d’exécution transcendante No.5 ‘Feux Follets’ 3:33 |
| [17] Liszt: Etude d’exécution transcendante No.11 |
| ‘Harmonies du Soir’ 9:04 |
“made at public concerts, and involves applause between items, and some occasional coughs. The microphone picks up piano action noise, and the tone is not ideally free. BUT none of these faults mask for a moment the art of Richter, who, I am inclined to suspect, is the greatest interpreter of music (piano or otherwise) in the world” “Schubert he plays simply, lyrically, with perfectly judged articulation and rhythm … Liszt: Valse oubliée: begins with a gentle, very affectionate, whimsical rubato that lifts, but never disturbs, the rhythm; and then suddenly away he goes with the repeated-note theme and you jump out of your skin at the precision and strength and musical control … warm bass harmonies like the relaxing sun on a Mediterranean beach and the final recitative fades away with almost intolerable pathos. The second Valse oubliée merges into the muffled clatter of a barrel-organ
