Not for the first time reissued, these recordings in fact date back to 1963, and by present-day standards are now beginning to betray their age. In playing time, too, one side of each LP is far from generous. But Richter is Richter, and since his Beethoven undertakings are rare, of course they are to be cherished.
All five sonatas are early works, written before the turn of the century. Bringing that home would seem to be Richter's first concern. Fingerwork is fleet. Rhythm is crisp. Texture is transparent because so lightly pedalled. Nothing is expressively overloaded. In fact, it would be hard to imagine early Beethoven played with greater simplicity and purity. My only real disappointment is the first movement of Op. 14 No. 2 in G, where fastish tempo and disregard for detailed dynamic markings make the exposition sound perfunctory. But the droll central variations bring lovely little piquancies of characterization, and from then on he makes everything his own—in his own undemonstrative way. In Op. 14 No. 1 in E his tempo for the Allegretto is leisurely, as if in determining that this sonata should have some sort of slow movement, and perhaps for the same reason he takes his time over the opening Andante of Op. 49 No. 1 in G minor. As the maturest of the five in expression, the B flat Sonata, Op. 22, naturally elicits some of his most arresting playing, with a supremely eloquent, though still classically poised, Adagio.'