Harold Craxton on Sviatoslav Richter

“Why this wave of emotion and excitement? Some attributed it to a great publicity build-up, and one writer objected to the use of the phrase, 'The Pianist of the Century'. 'Which century?' he asked. This was the same critic who labelled Horowitz on his debut as 'the greatest pianist, living or dead'. It is obvious that Richter's gramophone records were his best publicity agent, for these fine recordings have been available for some time and they have so impressed the discerning listener that the message has been passed round-'Here is a great pianist'. Publicity has not suppressed judgment here.”

“Criticism is a very personal affair-no two people can hear alike, neither can their reactions be standardized. I have read much in the press about Richter's performances, and the opinion of distinguished critics has been varied, and quite rightly so. But there seems to have been a crescendo from doubt to approval and admiration, from the early use of words such as 'provincial', 'reprieve for Richter', to 'the supreme artist, whom we had been led to expect'. To me there seems no doubt that Richter is a great pianist. I have heard enough to thrill me. A pianist who can use the piano in every legitimate and musical way-who has song in his heart and rare agility in his fingers and hands, who never attempts to improve music by discovering new effects or counter-melodies-an artist who has a belief in his choice of music, and whose great art is placed in affectionate service to the composer as a first and last aim.”