These are old recordings by CD standards, and one is aware of background tape hiss in such passages as the quiet opening of Concerto No. 2. Also, the faint noise of the piano's pedal mechanism is occasionally revealed, as just before letter C of the same work. But generally both these recordings sound very well, and the piano tone itself leaves surprisingly little to be desired. Even if it were otherwise, Lisztians would still want these classic performances. They have been much written about in the 22 years since their first appearance, their virtues are familiar, yet, like the music itself, they remain as new as ever. One reason is the wonderful eloquence of Richter's playing, and another is the care given to such features as the many orchestral solos, such as those for the cello in Concerto No. 2. In fact, the soloist's rapport with both conductor and orchestra is something quite special.'