If it's a CD coupling of both the B minor and Dante Sonatas that you're after, then Dezso Ranki's sole rival is John Browning (Delos), who with the three Petrarch Sonnets to complete the disc, plays for a total of 71'45'' as against Ranki's 55'20'' with the Mephisto Waltz. But I would unhesitatingly recommend Ranki. Although on his own admission a comparative newcomer to Liszt, Browning, determined to shed new light, takes provocative liberties with dynamics, rubato—and even the actual text. Readers of my April review may recall that he even re-writes the ending of the Dante Sonata in the belief that Liszt was not sufficiently self-critical.
Starting with the advantage of mellower reproduction (the recording was made in Tokyo), Ranki, in contrast, is scrupulously faithful. Never at any time in the entire recital is there any exaggeration of dynamic markings, tempo contrasts, pauses, accents, or even leanings on this or that note. Each work is played with complete technical control, and not even in the most frenzied climax does he coarsen his tone. It is the playing of an eminently discerning, balanced musician reluctant to interpose himself as a self-conscious interpreter between composer and listener.
While the Dante Sonata, no less than the Mephisto Waltz, confirms him as no mean virtuoso, it is his response to Liszt's more intimate confidences that impressed me most, especially in the Dante Sonata. His judicious timing for the B minor Sonata (29'19'') places him midway between Browning's protracted 31'41'' and Duchable's brilliant but sometimes rushed 27'52'' (Erato). But predictably he has formidable rivals in this work in the magisterially expansive Bolet (Decca) and the highly-strung, temperamental Brendel (Philips). Ranki's characterization is certainly not so intense, or dramatic, as Brendel's. Just two examples must suffice. He moves too easily from the laden end of the slow movement into the sardonic fugal scherzo section. And preferring safety to abandon in the last big build-up (marked with such terms as stretta quasi presto... rinforzando e stringendo molto... prestissimo... fuocoso assai) he does not generate enough excitement (or wait quite long enough on the climactic pause) for the epilogue to bring its full benedictory calm. Sooner or later Ranki may prefer to emphasize more of the demonic in Liszt. For the moment, however, let's be grateful for his supremely well-bred musical poise.'