Lazar Berman was one of three titanic pianists to emerge from the former Soviet Union in the second half of the twentieth century (along with Emil Gilels and Sviatoslav Richter), and although Gilels believed Berman to be the superior artist of the three, Berman's name is likely the least often recognized to modern listeners. Earlier in his career, Berman made a name for himself as an unparalleled interpreter of Liszt and other overtly virtuosic composers of the late Romantic era. He was met with criticism as his performances became less consistent as he included less ostentatious compositions. This album, featuring the D. 960 B flat Sonata of Schubert and the Op. 40, No. 2 Sonata of Clementi, is an example of this. Although less technically oriented than, say, Liszt or Scriabin, Berman's execution of the Schubert contains a surprising number of missed or extra notes. Musically, he at times seems to force more into the music than is necessary, such as the preposterously drawn out ritardando at the end of the first movement. Likewise, the Clementi is lacking in subtlety and simplicity. That Berman's incredible range of pianistic colors and huge Romantic vision are traits ideally suited for Liszt is not in question; it's a matter of being able to tone down these characteristics when playing works of other composers, something Berman just doesn't do enough of.
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