This recording, in my opinion, is yet another confirmation of Kissin's talent. To all of you who have criticized this recording (or Kissin's playing in general), I say that wether or not this particular interpretation pushes all the right buttons for you or not, I really don't think you can deny the fact that Kissin is a great artist. I, for example, don't like everything Schnabel does in the Beethoven Sonatas, but that doesn't make Schnabel any less an artist. And to say that his playing hasn't matured over the years is downright silly. His tonal spectrum has diversified a great deal. I especially notice that he can play a beautiful sotto voce, which I don't hear in his earlier recordings. And for God's sake, give the man a break. He's not even thirty years old. We can't expect him to do a lifetime worth of maturing in six years! I've listened to these pieces a lot the past few years and I dare say I know them quite well. Nevertheless, Kissin brings out aspects of them I hadn't noticed before, especially inner lines. Sure, he may not be as spontanious as Argerich or Richter (I never cared much for Richter's Chopin), but he is a true artist who puts the music in first place and himself second. Regarding Kissin's practising habits, which someone here mentioned before, Kissin usually practises about four hours a day. This, as he says, is plenty if you have any real talent. Surprising as it may seem, a large portion of the soul-searching mentioned in an earlier review goes on away from the piano. Besides, practising seven hours a day every day can damage your hands, plain and simple. One last thought. Someone commented that "Many of the phrases have little shape". Listen to the middle section of the Scherzo and tell me the phrase has no shape.