There are two other versions of the Piano Quintet available, by Clifford Curzon with the Vienna Philharmonic Quartet (Decca) and by Stephen Bishop-Kovacevich with members of the Berlin Philharmonic Octet (Philips). The interest of this new performance is sufficient to overcome a number of drawbacks. Chief among these is a recording of no great distinction: it stems from a public performance (the sleeve does not say where), before a somewhat bronchial audience. Quick and sensitive as Richter's playing is, the Borodin Quartet seem to be off form, with some dubious intonation espcially from the leader. Nevertheless, the performance has a certain vigour and charm, and Richter's admirers will certainly want to hear it.
The Terzetto, which does not appear to be otherwise available on records, is the other reason for drawing attention to the record. It is an ingenious and attractive piece, originally written by Dvorak for him to play with two violinist friends, and the lack of a true bass for the ensemble does not seem to have inhibited him much. There are four movements, a pleasant Allegro, a Larghetto that explores the medium most effectively, a nimble Scherzo with a waltz-like trio, and a final set of variations on a most remarkable and tonally enterprising theme. The performance is excellent. The sleeve-note is French, with a translation into fractured English.'