No one can be in any doubt that as far as pianistic technique is concerned, few if any pianists of the 20th Century could match Richter.
However, his interpretations often give the impression of being designed to provide maximum impact in the concert hall (many of his recordings are live), whilst not providing the necessary intellectual rigour to satisfy repeated listenings on the recorded medium.
In the recordings under review the above observation can, in my view, be illustrated by the Well-Tempered Clavier excerpts which I found so musically unsatisfying that it had me running for my Angela Hewitt recording of these works in order to calm my senses. The same can be said of the rendition of the Chopin Etude in C Major Opus 10 No. 1 which seems to me, in Richter's hands, to be an exercise in breaking the piano with the left hand!
However, there is much to wonder at in these recordings. Most notably, in my view, the wonderful interpretations of the 3rd and 4th Chopin Ballades and the selection of Rachmaninov Preludes. As one can expect from a pianist who seemed to prefer recording in front of an audience, the sound quality is often impaired. This is most noticeable in the Bach works where the audience seems to be coughing as if their lives depended on it.