Salient: Victoria University Students' Paper. Vol. 25. No. 11. 1962
In the second concerto, for example, the opening bars are played quite slowly (that is. In comparison with most versions) and yet one finds that this is not only more expressive than what is usually heard, but is closer to Liszt's marking of Adagio.
As for accord between soloist and orchestra this is most in evidence in the rushing scale passages andtuttis; Richter's playing shows exactly why some people rank him as the greatest pianist to yet appear from Russia. The piano is beautifully balanced with the orchestra and the very low notes are recorded with a startling degree of realism. The string tone is notable, along with the clarity of orchestral texture as a whole and many details of scoring previously often obscured stand out for at attention.