Vladimir Horowitz Plays

On this CD:

1. Piano Concerto No. 1, for piano & orchestra (or 2 pianos) in B flat minor, Op. 23
Composed by Pyotr Il'yich Tchaikovsky
Performed by Hollywood Bowl Orchestra with Vladimir Horowitz
Conducted by William Steinberg

2. Sonata for keyboard in E major, K. 380 (L. 23) "Cortège"
Composed by Domenico Scarlatti
Performed by Vladimir Horowitz

3. Work(s) [Unspecified] Etude, Op. 72
Composed by Moritz Moszkowski
Performed by Vladimir Horowitz

4. Kinderszenen No. 7 ("Träumerei"), for piano, Op. 15/7
Composed by Robert Schumann
Performed by Vladimir Horowitz

5. The Stars and Stripes Forever, march for band
Composed by John Philip Sousa
Performed by Vladimir Horowitz

6. Keyboard Sonata in E flat major, H. 16/52
Composed by Franz Joseph Haydn
Performed by Vladimir Horowitz

7. Piano Sonata No. 14 in C sharp minor ("Moonlight"), Op. 27/2
Composed by Ludwig van Beethoven
Performed by Vladimir Horowitz

Tracks:

Sonata No. 2, Op. 36 In B Flat Minor: Allegro agitato
Sonata No. 2, Op. 36 In B Flat Minor: Non allegro; lento
Sonata No. 2, Op. 36 In B Flat Minor: L'istesso tempo; Allegro molto
Moment musicale, Op. 16, No. 2 In E Flat Minor
Prelude, Op. 32, No. 5 In G
Polka V.R.
Concerto No. 3, Op.30 In D Minor: Allegro ma non tanto
Concerto No. 3, Op.30 In D Minor: Intermezzo: Adagio
Concerto No. 3, Op.30 In D Minor: Finale: Alla breve

Amazon.com

Yes, Virginia, Rach 3 existed before David Helfgott and Shine. Vladimir Horowitz made a recording in 1951 that continues to be the delight and despair of every pianist, notwithstanding standard cuts and minor, nerve-induced inaccuracies. The 1980 Second Sonata is looser but no less intense than Horowitz's storied 1968 CBS version, while the short pieces ooze with sex: even the Polka! --Jed Distler

Customer Reviews:

Buy it ! (for the concerto).......2006-02-01

The performance that Horowitz gives us in this '50s recording of the Rach 3 is a testament to outstanding human artistic endeavor. As Rachmaninoff said, "...he (Horowitz) swallowed it whole." Along with his pianistic pyrotechnics, Horowitz demonstrates wonderful architectural overview, inevitability, and stylistic authenticity. Truly, a recording of this concerto sui generis that should be in the libraries of all who love the piano!
The other pieces on this CD, recorded for RCA ca. the late '70s,
have an unpleasant piano sound. Franz Mohr, piano tuner for
Horowitz/Steinway during this period, discusses this issue in his
book, "My Life with the Great Pianists." Superb recordings of
these pieces are available: Piano Sonata No. 2, recording
Horowitz made for Columbia Records in the late '60s; Prelude in
G, Op. 32, Horowitz in Moscow, 1986; and Moment Musical in E flat
minor and Polka de V. R., Sergei Rachmaninoff, Great Pianists of
the 20th Century, Philips/Polygram (compiled in 1998).

The majesty of Horowitz.......2006-01-15

Musicians are reluctant to give rankings. We want to separate the classical music world from the hyped world of MTV top tens and USnews school rankings. Since this is the case why are so many pianists assert and reiterate the glory of Horowitz among 20th century pianists. After all if we are going to deviate from our tendency not to rank we should at least substantiate why Horowitz is so special.
If one dwells on it for a second the physical act of playing the piano boils down to brain finger coordination. The brain sends a message to the finger what to do next - where to move, how soft to touch the key, etc. It is extremely hard to reach a very high level of coordination. For example, if someone had 100 percent brain hand coordination in basketball they would never miss a shot.
Horowitz brain-finger coordination is just phenomenal (there are many examples of this and a classic one in my opinion is his playing of Etincelles). Imagine telling a pianist to play a 20 minute piece ONLY in pianissimo but still continaing crescendos and decrescendos within the pianissimo. For 99.9 percent of pianists, and even the great ones, this would be impossible. At some stage during this hypothetical piece they will accidentally stray into mezzo forte (or some other level). TO BE ABLE to play with such softness for a prolonged period of time is unbelievably hard because you need complete control of the fingerwork.

Critics often miss the mark when talking about Horowitz. They look at isolated concerts or recordings during his very long career that are flawed ( and admittedly Horowitz did have ups and downs). The crux of the pianist's talent lies in what he could do at the piano when he reaches the summit of his ability. If one looks at Horowitz' output within a larger context things look different.

Let me conclude with comments of the famous pianist, William Kappell:
"I'm so weak from tears and shouting, that I can hardly write.... I just heard Horowitz here in Pasadena, playing the 3rd Concerto of Rachmaninoff. The man is such a genius of the piano that it seems inhuman to play like that.... He is not a pianist, he is a magician."
Eloquent and Succinct.

Exultant pianism; Faustian inspiration!.......2005-10-22

The monumental Sonata No. 2 is possibly the most complete work of this genre emerged from Russia until this date. It possesses that effluvium and nostalgic gaze,contemplative lyricism and arresting expression that invades the listener from the first bars. Involved in the classical Romantic heritage, with a strong Lisztian influence and the majestic and elusive introspection so typical of Robert Schumann.

The celebrated Non allegro: Lento expresses this sad melodic flight where the meditation and farewell sense seems to shake hands. What it seduces me from this version is its maidenly approach; Horowitz understands the core of the work as anyone else, given this similar condition of exiled Soviet citizen and explores with acuteness and refined eloquence the inner folds, those enigmatic pianissimos and sudden outbursts of fevered poetry make of this performance the most genuine and best achieved versions that I have ever listened never before.

The Third Piano Concerto despite the fact is not my first choice is incandescent and superbly phrased. In addition we have Reiner making a sharp collaboration and showing the Russian mood underlined beneath the score. Horowitz unexplainable does not play the Diabolic Cadenza and that 's probably one the disillusioned aspects that I dislike; this Cadenza is a true firewall that stigmatizes and accents still more the febrile passion and enraptured flame of this monumental score.

In this sense no other pianist in the history has been able to reach the level of the unsurpassed, resplendent and delirious performance that William Kapell did it in 1952 in a live Concert pitifully non available in CD, due it was a live register, that I could get it thanks to a friend of mine who got a copy in Washington of a hard fan of William in 1988. Since I listened this version, became automatically in the parameter per excellence at the moment to compare some other recording.

It's Horowitz. It's the best........2005-08-25

The CD starts with the Sonata Number 2, which Rachmaninoff composed, then shortened in his later years. Horowitz came to Rachmaninoff saying that he had cut too much. Rachmaninoff agreed and had Horowitz himself add back in what he thought was appropriate. Rachmaninoff approved the changes and that became the official version. Horowitz apparently made a few more changes since the composer's death which he feels Rachmaninoff would have approved. This is the final version that appears in this recording.

There are then a few smaller but still delightful pieces. One of the Musical Moments that Rachmaninoff was apparently particularly proud of. It is done in the Horowitz style, but the piece is dissonant and swirling, even for Rachmaninoff, creating a nice contrast. It's delightful to hear Horowitz's interpretation with his melodic and bell-like tone.

The prelude is peaceful and more complementary (rather than contrasting) to Horowitz's style. Melodic, relaxed, and dreamy.

The Polka is actually based on something Rachmaninoff's father used to play. A folk melody arranged in the virtuoso Rachmaninoff style. Fascinating.

Finally we come to the Third Rachmaninoff Piano Concerto. The Rach 3 as it is known. Respected and feared by pianists the world over. It won Olga Kern the International Cliburn Competition. There are apparently a few mistakes in the piece due to nerves, but I can only hear two spots where they MIGHT be. Horowitz's interpretation emphasizes speed and lightness rather than size and weight (which Ashkenazy tends to emphasize). Horowitz plays the "light and quicksilver" cadenza rather than the heavier chordal one which is more "typical" of Rachmaninoff. I would like to hear Horowitz play the other cadenza, as well. Sometimes when Ashkenazy or other pianists play this piece, you can hear when they are no longer considering interpretation or artistry. They are merely trying to survive the piece intact. Horowitz never struggles with the piece, even though it is the hardest in the repertoire, he is always thinking, feeling, and interpreting the piece. I'm often gasping for breath, but Horowitz is always effortlessly skimming along. A marvelous playing of my favorite Rachmaninoff and my favorite piece. This is marvelous, but it is fascinating to hear other interpretations of this piece. For a more purposeful (but equally speedy) interpretation, I recommend Byron Janis. For a more ponderous weighty interpretation, I recommend Ashkenazy. Olga Kern also does well playing this piece in the Cliburn DVD. It's amazing to see it played.

Absolutely sick!.......2005-08-24

The single greatest recording by the greatest classical pianist of the modern era.

Average customer rating:

Horowitz Plays Scarlatti
Superb Horowitz
Why not five stars?
The inimitable Horowitz

Horowitz Plays Scarlatti

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Mikhail Pletnev ~ Domenico Scarlatti - Keyboard Sonatas
Horowitz Plays Scriabin
Scarlatti: Piano Sonatas
Scarlatti: Sonaten
Scarlatti: Complete Keyboard Sonatas, Vol. 2

ASIN: B0000CF32K
Release Date: 2003-09-30

Tracks:

Sonata In D Major, K 33 (L 424)
Sonata In A Minor, K 54 (L 241)
Sonata In F Major, K 525 (L 188)
Sonata In F Minor, K 466 (L 118)
Sonata In G Major, K 146 (L 349)
Sonata In D Major, K 96 (L 465)
Sonata In E Major, K 162 (L21)
Sonata In E-Flat Major, K 474 (L 203)
Sonata In E Minor, K 198 (L 22)
Sonata In D Major, K.491 (L.164)
Sonata In F Minor, K 481 (L 187)
Sonata In A Major, K 39 (L 391)
Sonata In G Major, K 547 (L S28)
Sonata In B Minor, K 197 (L 147)
Sonata In F-Sharp Minor, K 25 (L 481)
Sonata In D Minor, K52 (L 267)
Sonata In G Major, K201 (L 129)
Sonata In C Minor, K 303 (L9)
Sonata In F-Sharp Major, K 319 (L 35)
Sonata In G Major, K 303 (L 9)

Customer Reviews:

Horowitz Plays Scarlatti.......2007-01-05

WOW! What a great recording this is. The man is a true magician with Scarlatti and the sonatas he selects are not the usual fare. Wonderful addition to your CD collectionl.

Superb Horowitz.......2006-11-06

This CD was previously released as Sony Classical's Horowitz The Complete Masterworks Recordings - Volume II The Celebrated Scarlatti Recordings. It was superb then, and this new album cover is nicer.

If you are a fan of Horowitz, then this is essential. Many of Horowitz's other albums open with a few Scarlatti sonatas, which was how I found that I loved Scarlatti. In particular, I would recommend "Discovered Treasures", which consists of previously unreleased Horowitz recordings which were left off his previous Columbia albums, including six Scarlatti sonatas.

Why not five stars?.......2005-03-27

Horowitz's piano is superb but I cannot help complaining about one stupid audience coughing every five seconds in the last two sonatas, which ruins the music especially when you are using headphones (listen to the sampler). How was this bad recording included in this CD? Otherwise, wasn't it possible to "digitally" remove this annoying sound?

The inimitable Horowitz.......2004-03-07

No words of wisdom here - just superlatives! Superb - amazing - fantastic CD - guaranteed to knock your socks off. Wonderfully played by the maestro who adored Scarlatti's music. Every note a diamond.

Average customer rating:

what a recording!
From Byronic to Orgiastic
Horowitz - the best or real close to it
One original approach
No other pianist quite does Scriabin justice

Horowitz Plays Scriabin

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

$7.99 and Under | Classical Music Blowout | Stores | Music

All Classical Music Blowout | Classical Music Blowout | Stores | Music

Instrumental | Classical Music Blowout | Stores | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Horowitz Plays Mussorgsky, Scriabin, Prokofiev, and others
Horowitz Plays Scarlatti
Horowitz: The Last Recording
Horowitz Plays Rachmaninoff/Concerto for Piano in Dm; Sonata for Piano No2/Vladimir Horowitz, Pianist
The Complete Preludes and Etudes for Pianoforte Solo

ASIN: B000003EOZ
Release Date: 1989-08-10

Tracks:

Sonata No. 5, Op. 53
Preludes: Op. 11, No. 1 In C- C-dur, ut majeur, do maggiore
Preludes: Op. 11 No. 10 in C-Sharp, cis-moll, do diese mineur, do diesis minore
Preludes: Op. 11, No. 9 In E, E-dur, mi majeur, mi maggiore
Preludes: Op. 11, No. 3 In G, G-dur, sol majeur, sol maggiore
Preludes: Op. 11, No. 16 In B-Flat Minor, b-moll, si bemol majeur, si bemolle minore
Preludes: Op. 11, No. 13 In G-Flat, ges-moll, sol bemol majeur, sol bemolle maggiore
Preludes: Op. 11, No. 14 In E-Flat Minor, es-moll, mi bemol mineur, mi bemolle minore
Preludes: Op. 15, No. 2 In F-Sharp Minor, fis-moll, fa diese mineur, fa diesis minore
Preludes: Op. 16, No. 1 In B, H-dur, si majeur, si maggiore
Preludes: Op. 13, No. 6 In B Minor, h-moll, si mineur, si minore
Preludes: Op. 16, No. 4 In E-Flat Minor, es-moll, mi bemol mineur, mi bemolle minore
Preludes: Op. 27, No. 1 In G Minor, g-moll, sol minore
Preludes: Op. 51, No. 2 In A Minor, a-moll, la mineur, la minore
Preludes: Op. 48, No. 3 In D-Flat, Des-dur, re bemol majeur, re bemolle maggiore
Preludes: Op. 67, No. 1
Preludes: Op. 59, No. 2
Sonata No. 3, Op. 23.: Dramatico
Sonata No. 3, Op. 23.: Allegretto
Sonata No. 3, Op. 23.: Andante
Sonata No. 3, Op. 23.: Presto con fuoco; Meno mosso
Etudes: Op. 8, No. 7 In B-Flat Minor, b-moll, si bemol mineur, si bemolle minore
Etudes: Op. 42, No. 5 In C-Sharp Minor, cis-moll, do diese mineur, do diesis minore
Etudes: Op. 8, No.12 In D-Sharp Minor, dis moll, re diese mineur, re diesis minore

Customer Reviews:

what a recording!.......2007-03-04

It's impossible not to love this recording! I have for years, and it stands the test of time. I met Scriabin's music through this classic recording, played many of these pieces across the years, and return to it again and again as to a fountainhead. Say what you will about the art of Horowitz over the years, his handling of these Preludes and Etudes is inerrant. I've not heard another pianist play Scriabin with such intimacy and understanding, Richter included. The alchemy that was Horowitz's alone is in unpartitioned play from beginning to end. His inscrutable ear lets him choose one miniature masterpiece after another, each one vital to his master plan, in the end not only revealing Scriabin's mastery of musical thought, but giving us an indelible guide to Horowitz's own genius. If you want to understand the contribution of Horowitz, walk past his others straight to THIS Scriabin disc, AND the Horowitz Plays Scarlatti disc. For me, these two recordings provide unique evidence of this pianist's most revealing gifts. The B-major Prelude is beautiful enough to melt stone. This recording reminds me of Gould's recording of Byrd and Gibbons - unexpected and perfect, and impossible to live without. In a world on overload, the music made here is witness of a great art. Don't delay the indisputable experience.

From Byronic to Orgiastic.......2005-11-06

Vladimir Horowitz was a champion of Scriabin's music long before it became fashionable, or even semi-fashionable. Scriabin's music appeared on Horowitz's programs as early as the 1920s.

Horowitz's first issued Scriabin recordings were made at his 25th Anniversary Concert in 1953 (also his last public recital until his famous comeback in 1965). The B-flat minor, and C-sharp minor Etudes are given more turbulent performances than usual. There is a great deal brewing beneath the surface. At times, it seems like Horowitz is trying to burst past his own flesh. The desperate passion of his performance lends credence to the notion that he was approaching a nervous breakdown.

The sixteen Preludes were recorded in 1956. (Actually, eighteen Preludes were recorded at these sessions, but two were placed on another album.) Horowitz chose to program the Preludes in a canny sequence of contrasts and surprises building to a climax, rather than sequentially. The Preludes start in the Chopinesque mode, becoming Wagnerian and epic, before dissolving into atonality - - revealing the scope of Scriabin's development.

The Sonata No. 3, also from 1956, is given a broadly phrased, brooding, Byronic performance. The relaxed pacing of the first movement allows Horowitz to move through the various "soul states" without splintering the structure. Contrast the way Horowitz plays the second movement, using the pedal to skillfully blend harmonies, to the way Askhenazy unimaginatively plunks the piece out. (In this movement, Horowitz makes a small cut in the score which actually improves structural clarity.) The transition between the third movement (truly an example of a musical "calm before the storm") is handled with exceptional skill, and Horowitz makes the last movement exciting without over stressing compositional points. Througout the Preludes and Sonata, the balance and poise of the playing speak volumes about Horowitz's post-1953 recovery.

Horowitz played Scriabin's Fifth Sonata during the 1975-1976 season. In his 70s, the pianist sacrifices nothing to age in the most orgiastic performance of this sensual piece ever committed to disc. Scriabin was synesthetic (meaning that he could hear colors) and the musical colors in this piece border on the lurid. This is easily one of the finest recordings from the pianist's late period.

The popular Etude in D-sharp minor, Op. 8, No. 12, played as an encore at Horowitz's 1982 London concert, is given a performance which seduces before building to an explosive climax.

The sound varies, from a bit confined in the 1956 recordings (made in Horowitz's living room) to spacious in the stereo items.

Horowitz - the best or real close to it.......2005-10-05

Listening to this cd put me on a higher plane regarding beauty.
There is no doubt that I will purchase more of "Horowitz plays...". And these preformances are relatively inexpensive. And for such quality, that is a rarity.

One original approach.......2004-05-23

Vladimir Horowitz is not in my ten top keyboard giants from the past. But, in this case it's fair to make a sincere rendition to this album.
Horowitz was a cosmpolitan citizen. That's is an very important detail and I 'll tell you why.
The Scriabin's school pianists Sofronitzky, Nehaus among others saw in him a russian Chopin. And I disagree with that opinion.
Scriabin was a sensitive artist , but also a major colorist than Chopin was and ever a convinced man opened to experience new sounds.
The musical influences received by Scriabin were in multiple directins. Wagner , Mahler, Bruckner opened new musical spaces in the new composers.
Besides Scriabin and its sense he links with Rachmaninov; he didn't get so far from the romantic tradition; and he dindn't join to the avant garde composers as Stravinsky, for instance.
He liked to experience but without his roots.
So that view in the school russian pianistic permeated this conception in pupils as Richter.
It's fair to establish a hidden neuroses in Scriabin's music and that's not a critical judgement.
The point to remark is that Horowitz, never considered this opinion, precisely to his countless exchange ideas with the world outside the provincial Russia.
And that's why his Scriabin sounds less ecletic and more multidimensional than the re3st of his coleagues, including Richter and Gilels; his Scriabin is in many ways out of control and less influenced of the chopinian view. It sounds you less romantic and more universal.
Only Richter in the seventies could escape from that view and pianist as MichAel Ponti , Mijail Rudy or Ivo Porgorelch have understood so.
Listen to Lazar Berman and you'll feel the Nehaus approach.
This is the great virtue of this recording.
But a warning; be carefully with a performance given for Horowitz in Carnegie Hall May 9 1965; because in many ways he seems to return to the chopinisque atmosphere when he played Scriabin in that recital.
A must in your collection. Don't miss it.

No other pianist quite does Scriabin justice.......2004-04-19

The recording of piano has that slightly annoying echoing sound, the pianist makes quite a few slips, but oh, if you want to hear how Scriabin should sound, this is probably the only pianist to listen to on CD's. Horowitz had the right sensibility to fully bring out the meditative, Chopin-like quality of this Russian composer and he plays the music like no other. If you want to hear Scriabin, this is a must-CD.

Vladimir Horowitz plays Tchaikovsky:Piano Concerto No. 1/Brahms:Piano Concerto No. 2

Average customer rating:

Horowitz and Toscanini
Get Set for an Amazing Ride!

Vladimir Horowitz plays Tchaikovsky:Piano Concerto No. 1/Brahms:Piano Concerto No. 2

Manufacturer: Classica D'oro
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
Similar Items:

Horowitz Plays Rachmaninoff/Concerto for Piano in Dm; Sonata for Piano No2/Vladimir Horowitz, Pianist
Grieg: Piano Concerto; Schumann: Piano Concerto; Konzertstück
Horowitz: Legendary RCA Recordings
Tchaikovsky: Concerto No.1/Beethoven: Concerto No. 5 "Emperor"
Rachmaninov: Piano Concerto No 3

ASIN: B000059LWO
Release Date: 2001-03-06

Tracks:

Pno Con No.1 in b, Op.23: Allegro Non Troppo E Molto Maestoso
Pno Con No.1 in b, Op.23: Andantino Semplice
Pno Con No.1 in b, Op.23: Allegro Con Fuoco
Piano Concerto No.2 in B-flat, Op.83: Allegro Non Troppo
Piano Concerto No.2 in B-flat, Op.83: Allegro Appassionato
Piano Concerto No.2 in B-flat, Op.83: Andante
Piano Concerto No.2 in B-flat, Op.83: Allegretto Grazioso

Customer Reviews:

Horowitz and Toscanini.......2005-12-31

For interpretation, I prefer the live concert performance that Vladimir Horowitz and Arturo Toscanini gave of the Tchaikovsky first piano concerto in 1943. That performance has also been digitally remastered by RCA Victor and it is very exciting, even including the applause at the end of both the first and third movements. That event took place in Carnegie Hall, as did the 1941 recording session included on this CD.

For many music lovers the 1941 recording, long available on 78-rpm discs and later on vinyl LPs, was the benchmark for interpretation of the Tchaikovsky concerto. It has been digitally remastered and remains an exciting, dramatic performance. Yes, there is some surface noise from the original sources (presumably 78-rpm disks since relatively few of RCA Victor's metal masters still remain from that era), but the performance more than makes up for any scratches or blemishes. This is one of the very Romantic interpretations of the concerto and it is an absolute treasure. It certainly shows how well Toscanini and Horowitz worked together.

The Brahms second piano concerto was recorded in 1940, also in Carnegie Hall, and this, too, is the epitome of Romantic performances. This is another extremely difficult work for the soloist and Horowitz was more than equal to the tasks. It is a wonderful recording of one of the longer piano concertos from the Romantic Era, a virtual symphony since it is in four movements rather than the usual three.

These are performances to enjoy over and over from two exceptional musicians, working with the top-notch orchestra that David Sarnoff assembled in 1937 for Toscanini.

Get Set for an Amazing Ride!.......2003-08-16

I'm not sure that these recordings are what you would call the
"definitive" performances of these two giants of the piano
repetoire, but they are certainly the most exciting and galvanic
performances of them you will find anywhere. Okay, so the
recordings date from 1941 and the sound is somewhat scratchy and
flat. So what? This is Horowitz at his absolute peak as a performer and Toscanini, while placing his orchestra completely
at the service of his soloist, makes sure Horowitz never engages
in the eccentricities, neuroses or exhibitionism that marred some of his subsequent concerto recordings.
There may be a few minor mistakes in the orchestra here and there
but I can't hear them. Horowitz is flawless and and daring to a
degree that only he could pull off. Certainly, you will never hear anyone take these two concertoes at a faster clip, and yet,
for all their formidable technical difficulties, not a single
note is missed or out of place. Every phrase is articulated with
incredible precision, nuance and feeling. You can actually start chuckling at how IMPOSSIBLY good it all is! The Brahms
Concerto is particularly astounding. The story goes that Horowitz heard a performance of this piece once in Berlin, fell in love with it, but thought he could do it better and taught it
to himself in six weeks! I believe it! His playing here is that
masterful and that sensitive!
This is the Horowitz of legend. Thank God these performances
were recorded! Compared to these HEROIC interpretations of these
two great concertoes, everybody else (and I mean that) simply
WIMPS out!
There are a lot of great recordings of these two pieces out there
by some truly great pianists, and they may have better sound, but
nothing matches this for its combination of technical brilliance,
daring and emotional commitment. There is a FIRE to these
recordings that simply has no equal.

Horowitz Plays Mussorgsky, Scriabin, Prokofiev, and others

Average customer rating:

Horowitz Review
No better place to hear musical genius!
Incredible performance, scratchy sound.
I undoubtedly declare that Horowitz is the best.
Horowitz is amazing as usual, BUT...

Horowitz Plays Mussorgsky, Scriabin, Prokofiev, and others

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Marches | Miscellaneous | Styles | Music

$7.99 and Under | Classical Music Blowout | Stores | Music

All Classical Music Blowout | Classical Music Blowout | Stores | Music

Instrumental | Classical Music Blowout | Stores | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Horowitz Encores
Horowitz Plays Scriabin
Prokofiev: Sonata No.7/Toccata, Op.11/Barber: Sonata, Op.26/Kabalevsky: Sonata No.3/Fauré: Nocturne No.13/Poulenc: Pr
Horowitz Plays Rachmaninoff/Concerto for Piano in Dm; Sonata for Piano No2/Vladimir Horowitz, Pianist
Horowitz: The Last Recording

ASIN: B000003F1S
Release Date: 1992-03-10

Tracks:

Promenade
The Gnome
Promenade
The Old Castle
Promenade
Tuleries
Bydlo
Promenade
Ballet of the Unhatched Chicks
Samuel Goldenberg & Schmuyle
Limoges-The Market
Catacombs
Con Mortuis In Lingua Mortua
The Hut on Fowl's Legs
The Great Gate at Kiev
Etude Op.2 No.1 in C-Sharp Minor
Prelude, Op. 11, No. 5 in D
Prelude, Op. 22 No. 1 in G-Sharp Minor
Danse Excentrique
Sonata No. 9 , Op. 68: Sonata No. 9 , Op. 68 - Black Mass
Dumka, Op. 59
Variations On A Theme From 'Carmen'
Sonata no. 7, Op. 83: III: Sonata no. 7, Op. 83: III. Precipitato
Humoresque, Op. 10, No. 5
Barcarolle, Op. 10, No. 3
Serenade To The Doll, No. 3, Children's Corner
The Stars And Stripes Forever

Amazon.com essential recording

Horowitz's Pictures is one of his most controversial recordings. In true Romantic tradition, he made changes in Mussorgsky's much-maligned score. Ignore those strict constructionists who hold that the composer's word is law, and you'll revel in the sheer high spirits and unabashed virtuosity of this electrifying performance. Few make this piece as exciting as Horowitz. The fillers offer his inimitable versions of various Russian favorites along with his not-to-be-missed transcriptions of Carmen highlights and a Sousa Stars and Stripes Forever as you've never heard it. --Dan Davis

Customer Reviews:

Horowitz Review.......2007-01-10

This recording was made in 1947 and the recording quality reflects that. It sounds like the CD was made from a scratchy record with no clean up.

I have heard better Horowitz performances. This one is very mechanical, without much color or feeling.

No better place to hear musical genius!.......2005-08-22

Horowitz' arrangement of Stars and Stripes Forever is possibly the most incredible piece I have ever heard (and I don't even like that song very much.) If you have never heard it in its entirety, you have really been missing something. The first half is really good but the second half is mind-blowing. Horowitz was a genius!!!

The other works on the disc are great too but I prefer more recent recordings such as Evgeny Kissin's Pictures at an Exhibition. Of course it's not that Evgeny plays it better than Vladimir but the recording quality has much improved since 1947.

Whatever you do, don't miss Stars and Stripes Forever. You will never forget it.

Incredible performance, scratchy sound........2000-12-17

A very good CD, but some of the titles are also on the Encores CD, and all the titles except the Rachmaninoff (recorded in 1979) are in mono. Besides the Rachmaninoff, the recording dates range from 1928 (whew!) to 1956. That said, this is Horowitz! It's great! I'd pay the money for the Prokofiev and Danse Excentrique alone. I just want to warn you that this is not the crystal-clear CD sound we're used to.

I undoubtedly declare that Horowitz is the best........2000-12-03

You may know that Horowitz is a TOP pianist. But there is a one more. This recording is the most suitable recording that shows the differences beteween Horowitz and other pianists. In other words, this recording represents the genuine playstyle of Horowitz. One of the conspicuous specialty of Horowitz is ffff. The Grate Gate At Kiev (Pictures at an Exhibition) needs exteremly strong finger power.(Self-confidence of piano touch) Also to "Prokofiev sonata No.7","The Stars and Stripes Forever", the same can be told. I want to say, It`s needless to say who is the second, at least in these pieces. ( the gap between 1st and 2nd is too wide )(And, I`m not saying abut all the pieces of Horowitz. I`m only telling you about the pieces in this record.) I have an absolute pitch, and can compose a little.So believe me. Have a nice day!

P.S. To music lover who want`s to listen awesome 'Carmen Vars.' : Horowitz recorded 'carmen vars' not only once. (because it revised several times.) Carmen.V. in this CD is different from "Horowitz Encore". After buing this record, listen carefully the samples (in Horowitz Encore). They are not the same. (Both has it`s tastes.)

Horowitz is amazing as usual, BUT..........1998-09-27

Horowitz is amazing as we have all come to expect, but at the time that Mussorgsky's PICTURES AT AN EXHIBITION was recorded, recording techiniques had not been perfected as they have today. The rest of the CD is outstanding. If you are a Horowitz fan, I highly recommend this recording.

Average customer rating:

Hideous Performance; CD Fit For Use As Frisbee
RCA's Chopin Horowitz Grab-Bag
Slam, bang -- Ta daaah!
great, but he's greater on other recordings.

Horowitz Plays Chopin, Vol. 1

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Barcarolles | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Horowitz plays Chopin vol.3
Horowitz Plays Chopin, Vol. 2
Horowitz Encores
Horowitz Plays Rachmaninoff/Concerto for Piano in Dm; Sonata for Piano No2/Vladimir Horowitz, Pianist
Horowitz Plays Mussorgsky, Scriabin, Prokofiev, and others

ASIN: B000003EQZ
Release Date: 1990-02-14

Tracks:

Polonaise-Fantaisie, Op. 61In A Flat
Ballade No. 1, Op. 23 In G Minor
Barcarolle, Op. 60
Etude, Op. 25, No. 7 In C Sharp Minor
Etude, Op. 10, No. 5 In G Flat
Ballade No. 4, Op. 52 In F Minor
Waltz, Op.69, No. 1 In A Flat
Andante spianato, Op.22 In E Flat
Grande Polonaise, Op. 22 In E Flat

Amazon.com

Best things first. Vladimir Horowitz' 1945 recording of the Andante Spianato and Grande Polonaise scintillates with pinpoint fingerwork and galvanizing energy. The remainder of the disc is culled from 1979-82 concerts. This was a mannered period for the pianist. His individuality often lapses into caricature and contrivance. Yet Horowitz could still spin magic cantabiles, evoking the spirits of his beloved bel canto singers, as in the A Flat Waltz or the spacious C Sharp Minor Etude from Op. 25. The larger-scaled works, however, are better served elsewhere in his discography. --Dan Davis

Customer Reviews:

Hideous Performance; CD Fit For Use As Frisbee.......2007-06-16

I'm so thankful I borrowed this CD from a friend. Thankful, not because the playing was nice, but thankful because I didn't have to buy the CD! I've never particularly enjoyed Horowitz's playing. I really don't see how people can worship the ground he walked on and still worship the tomb he resides in. True, he may have had his dazzling moments during his years but this CD recording certainly isn't one of them.

His Ballade No.1 was like sitting in a 4x4 and going over many, many humps in the road, banging on every other beat and making so many mistakes it will make you cry, utterly no finesse. Similarly with the Barcarolle, I would think I was sitting in a gondola in the rocky ocean about to meet my fate! The only thing he's good for is the black keys etudes, but even in this recording he's getting complacent when playing it. The Ballade No.4 was just the same, almost like driving a car but constantly stepping on the brakes, drive, brakes, drive, brakes, very, very sloppy playing riddled with mistakes and people seem to sing praises on his interpretation of this Ballade, can they be any more deaf, or perhaps his reputation preceeded him? The waltzes may sound nice, but even the Viennese wouldn't dare dance to these.

To anyone wishing or hoping to buy this CD, I would say forget it. I'd rather you get something Martha Argerich or Maurizio Pollini or Vladimir Ashkenazy instead, those are better pianists and hey, they're still alive. I would even give a chance at listening to Li Yundi, something refreshing for a change.

Horowitz the legend (and his many, many recordings and re-recordings) is stale, dead and decomposing, leave him be!

I wouldn't even give this CD a star if I had the choice, it's fit to be use as a frisbee, just like all the other Horowitz recordings I've heard! 'Nuff said.

RCA's Chopin Horowitz Grab-Bag.......2006-09-15

This CD reissue contains all of Horowitz's stereo RCA Chopin recordings, along with an early mono item.

Chopin's Polonaise-Fantasy was a Horowitz specialty for many years. He was playing this piece as far back as the 1920s, when few pianists dared to touch such a structurally complex work. His best recording of this piece remains the 1966 version taped live in Carnegie Hall. This can be found on Volume 3 of Sony's complete Horowitz issue. The 1982 version is among the most mannered playing Horowitz ever approved for commercial release. The phrasing and metric pulse sag, and the piece fails to cohere.

Chopin's Ballade in G minor was another piece Horowitz played constantly. Again, his best version of this work can be found elsewhere, including Volumes 3 (1965) and 4 (1968) of the Sony set. The aforementioned problems are also in evidence here. In addition, some of Horowitz's playing is technically sub-par, with an awkward coda that sounds banged.

Horowitz recorded the Barcarolle several times. His 1980 live recording contains the typical Horowitz mannerisms of that period, with an erotically charged coda. The old charmer is present for the "Black Key" Etude, while the C-sharp minor Etude is given rather perfunctory treatment.

Horowitz seemed more at home in Chopin's Ballade No. 4 than he did in the first Ballade. The phrasing, dynamics, and dramatic build up are just so "right" here, that one can scarcely imagine a better performance--even with the occasional minor slip of finger.

The Chopin Waltz combines both--very different--editions of Chopin's text, with perhaps a dash of Horowitz's melancholy.

Also included is a 1945 recording of Chopin's Andante Spianato and Grand Polonaise. This is an excellent sampling of the incendiary Chopin Horowitz favored until the 1960s. Relatively unmannered, this is riveting playing.

The sound quality varies, which is understandable considering the range of recordings times and venues. These performances have already received multiple releases on CD. One wishes RCA would do Horowitz's memory a real service--instead of merely exploiting it--and undertake a full Horowitz reissue as they've done for Rubinstein and William Kapell.

Slam, bang -- Ta daaah!.......2006-07-15

Horowitz was never highly regarded as a Chopin player. Yes, he could play really fast and really loud (and sometimes, both at once!!), but the tone often turned clangorous and the interpretations were often showy and downright vulgar. Thankfully, we now live in an era of more respectable musicianship. Many of our current Chopinists (eg. Biret, Pollini, Ohlsson) have technique to spare, but are infinitely more subtle and probing musicians.

great, but he's greater on other recordings........2003-08-27

Well, this has the two best ballades, numbers 1 and 4, plus my favorite Chopin piece, the barcarolle. The barcarolle is fantastic on this recording. It's really wonderful. Horowitz at his best. The rest is, well... so-so. Vlad is a little sloppy on the fourth ballade especially. He makes some glaring mistakes. It sounds like he was really bored and was winging it through most of the piece. The coda is the highlight of the piece - it sounds demonic as it should. The first ballade is also just ok. But you know, mediocre Horowitz is usually better than first-rate anyone else. I think Rubenstein and Emanuel Ax both have better recordings of the ballades.

Average customer rating:

The moment of the genuine pleasure

Horowitz Plays Chopin, Vol. 2

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Horowitz Plays Chopin, Vol. 1
Horowitz plays Chopin vol.3
Horowitz Plays Scriabin
Horowitz: The Last Recording
Vladimir Horowitz: Favorite Chopin, Vol. 2

ASIN: B000003EZL
Release Date: 1991-04-05

Tracks:

Sonata No. 2, Op. 35: Grave; Doppio movimento
Sonata No. 2, Op. 35: Scherzo
Sonata No. 2, Op. 35: Marche funebre
Sonata No. 2, Op. 35: Presto
Nocturne, Op. 9 , No. 2
Nocturne, Op. 55, No. 1
Impromptu No. 1 Op. 29: Impromptu No. 1, Op. 29
Etude Op. 10, No 3: Etude, Op. 10, No. 3
Etude Op. 10, No 4: Etude, Op. 10, No. 4
Ballade No. 1, Op. 23
Mazurka Op. 30, No.4: Mazurka, Op. 30, No. 4
Scherzo No. 1, Op. 20

Customer Reviews:

The moment of the genuine pleasure.......2000-09-13

When I heard this version of "Funeral" at the classic branch of a music store, a stuff of its jazz section rushed here to ask what title this album has. I had already decided to buy it, surprising at its sound effects. It was the real story twenty years ago. This amazement would be re-presented even now.

It is the young Horowitz that played this Funeral. He did never try to evoke the kind emotion, but simply to show the effect that the music has. It is the moment of the genuine pleasure to bring us the concentration of the consciousness on this sound and lead to the catharsis at last.

This splendid masterpiece is lack of the repetition of the trio, according to his intention. It seems to him too quiet and kind to play twice.

Tracks:

Scherzo No. 1, Op. 20
Mazurka, Op. 59, No. 3
Mazurka, Op. 41, No. 1
Mazurka, Op. 50, No. 3
Nocturne, Op. 9, No. 3
Nocturne, Op. 15, No. 1
Ballade No. 4, Op. 52
Mazurka, Op. 63, No. 2
Mazurka, Op. 63, No. 3
Waltz, Op. 34, No. 2
Nocturne, Op. 72, No. 1
Mazurka, Op. 7, No. 3
Polonaise-Fantaisie, Op. 61
Scherzo No. 2, Op. 31

Amazon.com

Vladimir Horowitz's Chopin mazurkas stand out for their tonal opulence and intriguing neuroticism. His coiled ferocity in the live 1953 First Scherzo contrasts with the ruminative F Major and C Sharp Minor Nocturnes and intense but relaxed Scherzo #2. A live 1951 Polonaise-fantaisie lacks the flexibility and introspection of the 1966 CBS recording, but Horowitz's 1952 Fourth Ballade best exemplifies what Schumann meant when he described Chopin's music as "cannons buried in flowers." One caveat: the pitch sags near the end of Ballade, due to a faulty tape splice. --Dan Davis

Customer Reviews:

Nocturnes of Love.......2006-08-28

The Nocturnes always move me, but Horowitz is by far the master of the piano - he brings Chopin to life in a way not heard before or since in this century. Horowitz and Chopin together - it doesn't get ANY better!

Interpretation of genius.......2005-08-19

The pieces from third collection of Chopin works were recorded between 1945 and 1957. At that time Master was evidently in the top form. He performs Chopin with his individual, inimitable style, which makes listening to this music breathtaking experience.

In my humble opinion Horowitz's electrifying pianism shines best in the Mazurkas. There are six Mazurkas and I would like to hightlight Op.63, No.2. - really captivating achievent and definitive version.

The sound quality varies, but in general is acceptable (solid mono ADD recordings). If you like Chopin, you should buy this album. And if you like Horowitz, you don't need my review...

Horowitz, Plays Mozart: Piano Concerto No. 23 K.488- Piano Sonata K.333

Average customer rating:

A Must-Have Mozart Recording
5 stars for the Concerto, 3 for the Sonata
Most Colourful Mozart
Horowitz's way with Mozart, unconventional and special
Horowitz' Delightful Mozart

Horowitz, Plays Mozart: Piano Concerto No. 23 K.488- Piano Sonata K.333

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Mozart: Piano Sonatas KV. 281/KV. 330/KV. 333/Rondo, KV. 485/Adagio, KV. 540
Horowitz: Discovered Treasures
Horowitz Live and Unedited [includes Bonus DVD]
Horowitz: The Last Recording
Horowitz in Moscow

ASIN: B000001G90
Release Date: 1990-10-25

Tracks:

Concerto for Piano and Orchestra no. 23 in A major, K. 488: 1. Allegro
Concerto for Piano and Orchestra no. 23 in A major, K. 488: 2. Adagio
Concerto for Piano and Orchestra no. 23 in A major, K. 488: 3. Allegro assai
Piano Sonata In B Flat Major, K. 333: 1. Allegro
Piano Sonata In B Flat Major, K. 333: 2. Andante cantabile
Piano Sonata In B Flat Major, K. 333: 3. Allegretto grazioso

Customer Reviews:

A Must-Have Mozart Recording.......2007-04-16

When I read some of the nit-picking criticisms from fellow reviewers regarding this gorgeous recording, I'm simply astounded at their arrogance. I would like to hear them attempt something similar! I don't care how learned or jaded any of you may be, this recording is worth listening to again and again.

Horowitz (like Mozart) was brilliant at any age, even 84. No other could compare to Horowitz's uniqueness. Giulini is equally brilliant and together they've recorded a unique masterpiece, and a must-have recording of one of Mozart's most beloved concertos. Not too many out there that feature a cadenza by Busoni, by the way, that adds one more fascinating dimension to this performance.

We will NEVER know exactly what Mozart intended, which is the real miracle of great music -- in that it allows the performers to imbue their own unique interpretation to what was written on the score. That's what makes the work of the great classical composers so astonishing. No criticisms necessary here; just sit back and enjoy the glorious sound.

5 stars for the Concerto, 3 for the Sonata.......2006-01-15

Horowitz was undoubtedly a fantastic pianist, but his strength was more in Romantic pieces, rather than Classical (or Baroque - his recordings of Bach are nothing very special). In fact, I have several of his Mozart sonatas, and they are not particularly good. He varies the tempo and the volume far too much for Mozart. But the concerto on this recording is excellent. Yes, I have read reviews which have criticized things like the sound balance and the orchestra, but I think that Horowitz and Giulini more than make up for these defects by the liveliness and sense of beauty that they bring to the recording. You can tell that everyone in the studio was thrilled to be part of such an unusual and historic event. (Horowitz was, of course, notorious for not recording many concerti.) Their happiness makes this one of the most joy-filled recordings of any Mozart work that I have. Dvorak said that Mozart's music is "sweet sunshine," and listening to this concerto, you can understand why. Alas that Horowitz did not have the chance (or the will or the desire) to record any other Mozart concerto.

Unfortunately, I cannot be as enthusiastic about the sonata. I wouldn't say that it left me cold: the third movement is quite good, with just the right amount of playfulness. But the other two movements are rather nondescript. This, coupled with his disappointing recordings of other Mozart sonatas, makes me think that he did not really understand Mozart's solo works.

But, overall, the disc is worth getting. I got it used and it is one of the best purchases I have ever made. I think it belongs in the collection of any Mozart lover.

Most Colourful Mozart.......2005-05-31

The concerto was taped two years before Horowitz passed away. Horowitz was rather weak then. There wasn't any rehearsal as such. In the recording session, there were places where Mr producer would like to have it retaped. But Horowitz, perhaps too tired, simply walked out of the studio...

So there is much more editing to do than usual studio recording. And a clever way out is to make the piano sound as loud as possible, pushing the orchestra to the background. Hence the imbalance between the orchestra and the piano. Otherwise, the orchestra and the piano sounded very nice individually, but odd together. It is however noteworthy that Giulini, probably the greatest living conductor by the time, was the chosen conductor of Horowitz to record his last and hopefully his most sublime piano playing.

There is a DVD version where we can see almost the entire production process. Horowitz arrived with only two hours to rehearse with the orchestra. Horowitz had to refer to the score right in front of him: he was either not too familiar with the score or his memory was fast declining. He was so old by that he could hardly walk on his own-- fortunately his fingers were still going. Yet, he rushed at times still struggling with his strong a grip on structure, leaving Guilini so much behind that the producer had to stop him, not just once or twice...

Schnabel said Mozart is easy for the children but hard for an artist. Horowitz in his prime was particularly too tense to be a Mozartian. He wouldn't like by then to become a Mozartian in any event, and who would in those days? What Schnabel didn't say was: Mozart is not that hard for those in their sublime age. Horowitz, especially his 333, could obviuosly let go of himself giving his soul and music enough breathing space.

His playing is almost as pure and natural as Lipatti. It is nevertheless so sensuously colourful and so full of nuances. The sonata is as good as any of the best pieces he performed in Moscow. He had obviuosly freed himself from the demon. Not to be missed by any pianist or music lover, especially those who would like to explore all the possibilities of the piano.

Horowitz's way with Mozart, unconventional and special.......2005-05-18

Here is a unique item in the huge Horowitz discography: a concerto, a Mozart concerto, and a collaboration with Carlo Maria Giulini, a conductor I have a funny feeling H's wife Wanda chose. (Horowitz later supposedly remarked he wished he'd recorded this with the Berlin Philharmonic instead.) For this rarified meeting we have the Mozart A minor piano concerto, a work I'm sure Horowitz chose because it is, compared to the other later Mozart concerti, relatively easy, technically-speaking. Tempi here are brisk, apparently at Horowitz's insistence--David Dubal claims Giulini did everything in his power to defer to Horowitz, and Giulini is not noted for being a "fast tempo" conductor. It shows in a stiff and characterless reading of the first movement, which is pushed about as fast as it can go, and a slight lack of gaiety in the finale. These aren't major flaws, however, but they do detract from what could have been a magical collaboration--Horowitz plays and Giulini conducts, but this is not a *collaboration.* Surely Giulini realized this is how it had to be if they were going to get the recording done. Someone else here described the performance as "all business," and intentionally spartan, the result of a Toscanini influence; maybe so, but still, I don't hear Giulini's input, only Horowitz's.

Howoritz's performance is, well, unique; a mixed bag but an absolutely fascinating and compelling one. (I keep returning to this CD repeatedly after putting it back on the shelf; I should just leave it in my player.) His late Romantic style does not mesh with what we would call traditional or "correct" Mozart playing today. Horowitz himself made a big deal of his approach to the slow movement, which he does not take very slowly, and implies that for the rest of his approach he paid close attention to what Mozart would have wanted. While of course it's impossible to tell "what Mozart would have wanted," I feel that Horowitz's approach in the first movement is actually more Romantic and wayward than his approach to the second movement. Furthermore, while Horowitz cites Mozart's criticisms of his piano-playing contemporaries as mechanical and insensitive, claiming Mozart himself would opt for a more color-filled and sensuous approach, we feel bound to point out that Beethoven later criticized *Mozart* for being mechanical and insensitive. (The style of piano playing in Mozart's day was more staccato and became gradually more legato and expressive in Beethoven's, due in part to changes in taste, in part to changes in the instrument.) It's hard to imagine someone's sound in your mind's ear based on verbal descriptions alone, since both aesthetics and the technical terms used to describe music changed rapidly during the 18th and 19th centuries. But to *my* ears, what we have here is a Mozart that is considerably more Romantic than most of us today may be used to. Horowitz is sometimes heavy with the chords in the first movement, striking them off with a slightly sour aggression, it seems to me. (In a few spots I almost feel like this is how Liszt might have played Mozart.) There is also some awkward phrasing, some brittle fingers and clumsy transitions. He would probably say it's because he hadn't had enough time to practice the piece, but I'd say it's because he was nervous (and he was 84 years old!) and Horowitz, like Schnabel, tended to rush the fast parts when nervous. Don't get me wrong, it's fine playing, but Horowitz does not linger over this music, falling back on his speed and bravura, as, I feel, he often did when he did not know what else to do or was not comfortable.

In the second movement he definitely "knows what to do," however. Horowitz has very definite and fascinating ideas about this music. He says the movement is actually a siciliano, an Italian dance, and it should have an upbeat lilt to it, rather than being played slowly and dirge-like. It is this departure from tradition that provoked the most controversy when the recording came out, but I find the view perfectly persuasive. (It's also interesting that while most recordings call this movement an Adagio, many older versions of the score label it Andante.) Whether it's "correct" or not I don't know or care, but Horowitz here shows us something new and interesting, and for this reason alone this recording belongs on every Mozart-lover's shelf. There are many other fine touches: I particularly like the use of the pedal. Horowitz correctly believed pedaling should be minimized in Mozart. When he does use it--such as on the inverted G-major chord in the tenth bar of the slow movement--the effect is magical. Similarly no one can play passages such as in the third movement, starting around measure 180, for example--a delicious tickling of the keys to make the piano chime enchantedly--with such delicacy and intimacy. (The first movement cadenza, by the way, is by Busoni, and it is far more interesting than Mozart's own, which is more often heard. Horowitz was wise to go with it, and it's another thing that makes this disc special.)

There's nothing "wayward" about the sonata that accompanies the concerto. When I listened to it I felt it to be the perfect companion, because it is so very concerto-like. I was pleased to read that Horowitz chose it for that very reason. It alternates solo passages with orchestra-like accompaniments, and even has a very dramatic cadenza in the third movement that would fit perfectly in a concerto. The first movement has some of Mozart's most subtle harmonic writing and some of his most refined textures, and Horowitz navigates it all like a fish in water, with an authority and instinct that can't be described. For comparison I put on Arrau, Pires, Gieseking and Schnabel. (I'm surprised I don't have more recordings of this, my favorite Mozart piano sonata.) Arrau bored me in minutes--he cannot connect with Mozart to me--Pires was immaculate but didn't say much, Gieseking reminded me of Pires, and Schnabel (a late recording) was too brittle and tense to be effective. This disc is worth the price for the sonata alone; if only it weren't marred by an inflexible first movement to the concerto, this would be a masterpiece album. As it is, it's pretty darned great.

Horowitz' Delightful Mozart.......2000-04-20

This is one of the most delightful and musically balanced Horowitz recordings I have ever heard. Gone is the demonic quality of earlier years, replaced with a new simplicity. Horowitz studied K. 488 in the 1930s with his father in law, Arturo Toscanini--and there is something of the legendary Italian's musicality in this performance. Tempos are brisk without being rushed; phrasing is business-like without being cold. Perhaps this is why Horowitz chose another Italian, Carlo Maria Giulini as conductor in this concerto. Frankly, this is very much Horowitz' record--the piano is very predominant in the concerto. That is just fine with me, because the small orchestra is non-descript and leaves something to be desired tonally. The sound in the Concerto is synthetic and dry.

It sounds as if the microphones have been pulled back for the Sonata. K. 333 is my favorite Mozart Sonata, and this is my favorite recording of it. Purists may quibble with Horowitz' rather unorthodox approach to ornamentation. But the phrasing is so natural, tempos flexible without being anarchic, the colors so impressionistically beautiful that I cannot imagine Mozart being anything other than delighted with this performance.

Aside from the orchestral contribution in the concerto, my only complaint is that this CD could have been more generous in its' timing.

Horowitz Plays Liszt
Average customer rating:

TRACK LIST

Horowitz Plays Liszt
Vladimir Horowitz , and Franz Liszt
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
General | Chamber Music | Classical | Styles | Music
Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Horowitz - Golden Jubilee Concert - Rachmaninov: Concerto No. 3

Horowitz at the Met

Horowitz At Home

Horowitz The Poet

Horowitz: Discovered Treasures

ASIN: B00000E6B3
Release Date: 1990-10-25

Customer Reviews:

TRACK LIST.......2005-12-04

Franz Liszt / Liszt - Horowitz Plays Liszt - Horowitz
Label: RCA
Year: 1981
Track Title
1. Sonata in B Minor
2. Ballade No. 2 in B Minor
3. Consolation No. 3
4. Funérailles
5. Mephisto Waltz No. 1

Music Review:

Music Review

music review

Recommended Music:

Your Lounge Your Music V.5 [Import]

Helmschrott: Riflessioni Su Dante Per Orchestra; Constantinides: Symphony No.5; Ernst: Variations; Johnston: Samsara

Fight Songs

Music: Dear Lie, Pt. 1 [CD-single] [Import]

Flirt Soundtrack: A Film By Hal Hartley [Soundtrack]

Fly Or Die [Import]

Green River [Import] [Limited Edition]

Just a Spoonful

Foreign

General Motors Concert

Electron Blue [CD-single] [Enhanced] [Import]