If I am expected to state a preference between Bolet's and Alfred Brendel's (Philips) accounts of the Liszt Sonata, I cannot do so. Several pages could be filled with a report on the specific differences, but their whole approaches are different. Theirs are, indeed, strongly contrasted interpretative mentalities, Brendel's chief affinities being with the Viennese classics, Bolet's with Liszt's fellow Romantics and the later continuation of that tradition. Both performances, preferably on CD, are essential to any serious Liszt collection.
Of the remaining items, the Valse impromptu is one of the sorts of piece that suits Bolet perfectly as it does few other contemporary pianists. And one cannot imagine even Brendel making, say, the Galop as convincing as Bolet does here. Another attraction of this issue is the suave perfection of his Liebestraume.'