"Walter Gieseking was a victim -- artistically, at least -- of World War II. When the Germans started the war, Gieseking (1895-1956) was among the greatest pianists alive. When Germany was defeated six years later, Gieseking, though only 50 years old, was a shadow of his former self. Although he was later cleared by an Allied court, Gieseking -- whose world fame would have made him welcome anywhere -- willingly collaborated in the cultural endeavors of the Third Reich.What remained of him pianistically, however, made it seem as if he had been punished by a higher court. Although his reputation as a great pianist remained until his death in 1956, Gieseking's numerous postwar recordings -- many of which continue to be available on the EMI label -- have always called that reputation in doubt. Even though some of those recordings, particularly those of the music of Debussy and Ravel, are distinguished enough, none justifies Gieseking's huge reputation.One is grateful, therefore, that this year's Gieseking centennial has brought forth several of the pianist's prewar recordings, most recently the first two volumes (a third is expected in the next few months) of the pianist's concerto legacy (APR) and another disc that collects four of the Beethoven piano sonatas Gieseking recorded between 1931-39.These performances show us a pianist who was not merely a great virtuoso, but the man who liberated the pedal. Like the two pianists most influenced by his example -- Sviatoslav Richter and Arturo Benedetti Michelangeli -- Gieseking's imaginative use of the pedal, combined with his sophisticated ear, permitted him to cultivate a tonal palette without antecedent in its range and subtlety of color and dynamics. And while Gieseking may not have been a profoundly emotional interpreter, he had a profoundly musical mind that rarely failed to bring music to life."