By far the most famous is the Mussorgsky Pictures, a work that benefits from excellent recording quality. Producer John Fraser and engineer Arne Akselberg together provide a luxurious sound that is clear and true to the piano sound. Giltburg has a real arsenal of tonal resources at his command—his touch is remarkably varied. A nicely shaded “Old Castle,” an appropriately heavy “Ox Cart,” and a beautiful “Catacombs” all bear this out. Perhaps “The Marketplace at Limoges” is the most successful picture—the women chatter very convincingly. Yet somehow it does not all add up. “The Hut on Fowl’s Legs” is decidedly studio-bound, and if the lead-in to the finale is acceptable, the arrival of “Great Gate of Kiev” is a real disappointment. The close of the work misses the visceral energy inherent in the score. Any pianist surely sits in the shadow of Sviatoslav Richter’s great live Sofia performance (Philips—if this does not have you on the edge of your seat, nothing will).

Giltburg refers in his booklet notes to the “translucency” of the Scriabin Sonata’s first movement, and it is true that his playing is very delicate indeed. In fact, he ensures the music hangs between the elusive and the mystic (which is exactly what it needs, else it just sounds like late-Romantic harmonic doodling). The finale is wonderfully nimble.

If Giltburg treads on Richter territory in the Mussorgsky, he’s positively stomping on it with the mighty Prokofiev Eighth Sonata. This is a piece that is slow to reveal its secrets. To his credit, Giltburg understands the work’s mystery. The long, quarter-of-an-hour first movement unfolds gradually. Moments of great delicacy encourage the listener to hang on every note, while Giltburg’s intelligence shines through his awareness of voice-leading. The nocturnally scurrying coda is very fine indeed. The deliciously bittersweet Andante sognando includes moments of real Impressionist-like beauty before a spiky finale closes the performance. Here, in this last movement, Giltburg surely could have transcended the studio limitations to be even more diabolic.

It must be admitted that this disc is a more enjoyable listening experience than the Rubinova—if it is a choice of which pianist gets your dollars, send them in the direction of Giltburg!

FANFARE: Colin Clarke