There is nothing sloppy about Koroliov’s grasp of structure. It is as cogent as his skill at clarifying textures, and his pianism is clean, bold and precise. It is also largely monochrome. To be sure, Bach didn’t indicate dynamic markings, though the works specifically written for a double-manual instrument – Overture in B minor and Italian Concerto – differentiate the keyboards with the words piano and forte. Throughout this recital, Koroliov takes these indications at face value as though he wanted to simulate a harpsichord; and the terracing of sound with little in between is probably accentuated by a close recording that is lacking in ambience. Least affected by this approach, however, is the Chromatic Fantasia and Fugue, because a brilliant command of both its improvisatory rhetoric and contrapuntal fabric compensates for a want of colour. Otherwise, a style that deliberately limits the resources of the piano also circumscribes a subjective response to the other pieces.
Koroliov doesn’t double dot the introduction to the Overture (which may be considered wrong), but he does give the music an appealing dignity. His regularity of rhythm and tonal monotony, though, cast a pall over all the succeeding dances. The Italian Concerto, Fantasia and Duets suffer less in this respect but, overall, there is more to most of this programme than Koroliov chooses to reveal. Turn to Andras Schiff, whose varied touch, supple phrasing and enlivening spirit combine to offer a much higher level of interpretative acumen.'