Did Richter give more concerts than any other pianist of the 20th century? It's certainly possible. He shunned the high life and lights to set up a festival in a barn in southwest France; to drag himself across the plains and mountains of Soviet Russia, playing Hindemith and more to audiences who likely had never even heard a piano -- as well as getting in six hours of practice. Such was his appetite for making music, and his scorn for the merry-go-round of record companies and ritzy recitals. This release focuses on his mastery of Beethoven: strong and determined, as you'd expect from a pianist who was always his own harshest critic, and capable of thundering heights of eloquence, but more often bringing out Beethoven the quixotic poet in, say, the questing opening movement of Op.110 or the mysterious Arietta which concludes the composer's cycle of 32 sonatas. A complementary recording of the Third Concerto is made with Kurt Sanderling, one of the most durable and understanding of his conducting partners. Other information: - Recorded in 1952--1975. - Can a Russian play Beethoven? When a genius, the answer is yes. And Sviatoslav Richter was a genius, a giant, a universal musical mind, free of idiosyncrasies, fashionable styles or cheap tricks; he represents music making of the highest order. Richter's Beethoven, is strong and passionate, yet sober and purist, never exaggerated, getting straight to the deeper meaning of the music. - The highlights from this selection of Beethoven piano sonatas are the last three sonatas Opp. 109-110-111, one the best of his many recordings of these eternal works. Awarded with a Diapason d'Or in France. - Includes comprehensive booklet notes profiling Richter and each work.