It was only after the age of 45 that Richter was allowed to perform in the West by the Soviet authorities. Under strong publicity, he officially made his debut in New York and London in the 1960s. Those who said he had superb abilities included those who had heard him play in Russia, such as Van Cliburn; and his compatriot Gilliers, who had been busy touring for a long time. In February 1958, he held a recital in Sofia. This recital not only announced the emergence of a new giant in the field of piano performance; it played an even more important role in reestablishing new standards for today's piano repertoire. Since "Pictures at an Exhibition" was publicly performed during Mussorgsky's lifetime, it has experienced orchestralization including Ravel's in 1922, but has never found a place on the important repertoire list. The concept that "the original piano score was not well written" Still exists. In the 1940s, a group of musicians including Brodowski, Moisevich and Horowitz (who played his own arrangement) began recording and developed the piece step by step, allowing the work to truly reveal its magnificence. It was the moment when Richter performed in public at the Sophia

From the very beginning, even if the mistakes were clearly audible, it proved that great piano playing does not lie in technical perfection. The important thing is to let the music be played "through the artist", rather than to seek the limits of human perfection. Noticing the mark of "moderate allegro", Richter felt like he had just arrived at the exhibition. tourists, so what leaks from the fingertips of (Wandering) is not anxiety, but the urgent thoughts conveyed. It is the control of this nuance that makes his music perfect except in (Wandering). This section also shows that he showed excellent control over the structural tightness of long phrases or entire movements. The irregular tempo full of rests and gaps conveys the weirdness of Hartmann's design draft. He is above it all. , bringing each phrase closer and closer to the thrilling ending. Mussorgsky not only captures the melancholy of the fantasy serenade, but also attempts to describe the melancholy of loneliness through the whole song. Playing at the weakest volume, but also using orchestral-like harmonic textures, reaching the most harmonious state of the music, this proves that a top pianist, in addition to playing passionate forte, only plays the tension of weak tones, and also captures the tension of weak tones. He could win over his audience. At that time, Richter's character as a master was already established. In the "Royal Garden" section, he did not pursue the beauty of the piano's timbre, but created a charming effect in a steady rhythm. There is no need to doubt his ability. You can know his skills as long as you listen to his performance of Liszt's "Will-o'-the-Wisp", which exceeds similar technical requirements several times: in the "Ox Cart" section, the audience may be surprised that he uses Ravel's orchestral configuration, pulling Weill followed Rimsky-Korsakov's version and changed Mussorgsky's original fortissimo notation to a crescendo, perhaps to create the feeling of an oxcart dragging. Liszt was like his later Like a pianist, follow this feeling.

The dexterity of "Dance of the Chicks", the eloquence of "The Two Jews", the desperate liberation of "Market", the coldness of "The Tomb". ). Would choose (Baba Yaka Witch's Hut), because he seems to have pushed the instrument to the limit with his almost insane rage! The huge sound of (Kiev City Gate) is even more shocking. Pianists are taught how to "saturate the air" with sound and how to produce powerful tones like a lion, but Richter fully demonstrates this through his passionate playing, abandoning the pursuit of inner truth as the case may be. The beauty of music is the most important foundation of Mussorgsky's music, and it is also the same for Li. He developed towards the romantic music repertoire, especially for Schubert, and reading the meaning hidden in the score is the key to everyone. The goal of a Schubert interpreter is to produce a variety of recordings depending on the player's temperament, nationality or the spirit of the times.

Richter regarded it as a kind of noble knowledge, perseverance, and challenge, because these works were completely different from the temperament of the Prime Minister. His concentration and speed in "When Music in G Major" enriched the connotation of the music: "E flat" In comparison, the Impromptu in Major became a frightening spell. He followed the instructions of the music and played it. His attention changed, and a rock-hard tension appeared, and the final acceleration towards the ending was wonderful: "A flat" The same is true for the "Major Impromptu". He noticed the volcanic eruption-like force, and the wild heat displayed in the interlude also appeared in "Wanderer's Fantasy". Richter regarded Chopin's Etude in E minor as an unusually dramatic performance. From the beginning, he seemed to believe that Chopin had agitated emotions, and performed no fewer than ten crescendos to the peak in these measures, and also added "intensified", "passionately" and "emotionally unrestrained" mark. As a pianist and composer, Liszt's entire life was filled with dual phantoms of angels and demons. For Licht, there was no problem in showing the spirituality of the two forgotten waltzes: not only did he faithfully It expresses the spirit of "Mephisto Waltz", and the mastery and light brilliance revealed from the fingertips of the second piece make even first-class pianists fall behind; "Will-O-Wisp" is a touching piece full of poetry and charm. , combining the double contours of the right hand with the leaping movement of the left hand, requires extreme sensitivity and difficult coordination. Richter started with a dazzling tempo, getting faster and faster, letting his left hand dominate the flow of the entire chord, and at the end made a stunning harmony without modification; "Twilight Harmony" followed The noble melody flutters, showing ideal harmony and overwhelming momentum; Rachmaninoff's "Prelude" evokes gorgeous melancholy, all of which are Richter's specialties.

Richter was only 22 years old when he first met Prokofiev in 1937. He studied under Niehaus at the Moscow Conservatory and gave his first public performance three years later. At that time, he played Prokofiev's "Piano Sonata No. 6" and served as the premiere performer of "Piano Sonata No. 7" in 1943. "Piano Sonata No. 8" is what he considers to be the most popular of all Platts sonatas. One of the most profound songs. His recordings of these three pieces are all classics. B flat major is Prokofiev's favorite lyrical key, used in his "War and Peace", "Symphony No. 5" and "Piano Sonata No. 8". Richter immediately released the hottest notes at the beginning, creating a chorus that no one could match. In the middle of the movement, he once again encountered notes that had no obvious melody and were inflexible and difficult to play. He also once again Make full use of the experienced method of shaping musical phrases to break through the tight encirclement, not just deal with the problem with strength. The decisive expression mark of the second movement is "dream-like". He expresses it with expression between reality and fantasy, making it a dream experience rather than just a memory. He tried to restructure the touch of the final movement to make the waltz in the middle section more prominent and release the energy of the chromatic motif. The melancholy that enveloped the first movement sounded again. Richter used precise power to create the unique symphonic imagination effect of twentieth-century piano sonatas at the end of the movement, which is feared by all pianists.