Beethoven: The Complete Masterworks (Box Set) [Box set]

Track Listings

1. .

Editorial Reviews
Album Description
Import exclusive box-set includes Complete Symphonies, Piano Concertos, Violin Concerto, Piano Sonatas, Violin Sonatas, Cello Sonatas, String Quartets, Piano Trios, Masses, & Overtures performed by various artists including London Symphony Orchestra, Berliner Symphoniker, pianists Shoko Sugitani, John Lill, & more. Standard jewel cases housed in a flip-top box approx. 16 x 6 x 5''. Brilliant Classics.

Tracks:

Sonata In E Major, K 531 (L430): Allegro
Sonata In A Major, K322 (L483): Allegro
Sonata In G Major K455 (L209): Allegro
Sonata No. 8 In C Minor, Op. 13 'Pathetique': I. Grave - Allegro di molto e con brio
Sonata No. 8 In C Minor, Op. 13 'Pathetique': II. Adagio cantabile
Sonata No. 8 In C Minor, Op. 13 'Pathetique': III. Rondo. Allegro
Impromptu In G-flat Major, Op. 90 (D899) No. 3: Andante
Etude in C minor, Op. 10 No. 12: Allegro con fuoco
Etude In C-sharp Minor, Op. 25 No. 7: Lento
Scherzo No. 1 In B Minor, Op. 20: Presto con fuoco
3 Preludes - From Book II: IV. Les fees sont d'exquises danseuses. Rapide et leger
3 Preludes - From Book II: V. Bruyeres. Calme
3 Preludes - From Book II: VI. General Lavine - eccentric.
Poeme In F-sharp Major, Op. 32 No. 1: Andante cantabile
Etude In C-Sharp Minor, Op. 2 No. 1: Andante
Etude In D-Sharp Minor, Op. 8 No. 12: Patetico

Tracks:

Piano Sonata No.2 In B- Flat, Op.35: I. Grave- Doppio movimento
Piano Sonata No.2 In B- Flat, Op.35: II. Scherzo
Piano Sonata No.2 In B- Flat, Op.35: III. Marche funebre. Lento
Piano Sonata No.2 In B- Flat, Op.35: IV. Finale. Presto
Etude-Tableau In C, Op.33 No.2: Allegro
Etude-Tableau In C, Op.33 No.2: Appassionato
Arabeske In C, Op.18: Leicht und zart
Kinderszenen, Op.15 - Scenes From Childhood: 1. Von fremden Landern und Menschen
KINDERSZENEN, OP.15: 2. Kuriose Geschichte
KINDERSZENEN, OP.15: 3. Hansche-Mann
KINDERSZENEN, OP.15: 4. Bittendes Kind
KINDERSZENEN, OP.15: 5. Gluckes genug
KINDERSZENEN, OP.15: 6. Wichtige Begbenheit
KINDERSZENEN, OP.15: 7. Traumerei
KINDERSZENEN, OP.15: 8. Am Kamin
KINDERSZENEN, OP.15: 9. Ritter vom Steckenpferd
KINDERSZENEN, OP.15: 10. Fast zu ernst
KINDERSZENEN, OP.15: 11. Furchtenmachen
KINDERSZENEN, OP.15: 12. Kind im Einschlummern
KINDERSZENEN, OP.15: 13. Der Dichter spricht
Toccata In C, Op.7: Allegro
Hungarian Rhapsody No.19 In D Minor: Lento patetico (Lassan)- Vivace (Friska)

Tracks:

Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante moderato
Keyboard Sonatas: Allegretto
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante
Keyboard Sonatas: Andante e cantabile
Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante e cantabile
Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante moderato
Keyboard Sonatas: Vivo
Keyboard Sonatas: Allegro

Tracks:

Toccata, Adagio And Fugue In C, BWV 564: I. Preludio, quasi improvvisando. Tempo moderato
Toccata, Adagio And Fugue In C, BWV 564: II. Intermezzo. Adagio
Toccata, Adagio And Fugue In C, BWV 564: III. Fuga. Moderamente sherzando, un poco umoristico
Fantasie In C, Op.17: I. Durchaus phantastisch und leidenschalflich vorzutragen
Fantasie In C, Op.17: II. Massig. Durchaus energisch
Fantasie In C, Op.17: III. Langsam getragen. Durchweg leise zu halten
Piano Sonata No.9, Op.68 'Black Mass': Moderato quasi andante-Molto meno vivo-Allegro-Piu vivo-Allegro...
Poeme In F-Sharp Major, Op.32 No.1: Andante cantibile

Tracks:

Mazurka In C-sharp Minor, Op. 30. No. 4: Allegretto
Etude In F major, Op. 10 No. 8: Allegro
Ballade No. 1 In G Minor, Op. 23: Largo - Moderato - Meno mosso - Presto con fuoco
Serenade For The Doll. Allegro ma non troppo
Etude In C-Sharp Minor, Op. 2 No. 1: Andante
Etude In A-Flat Major, Op. 72 No. 11: Presto e con leggierezza
Traumerei
Sonata No. 11 In A Major, K.331: I. Tema.Andante grazioso e variazioni
Sonata No. 11 In A Major, K. 331: II. Menuetto - Trio
Sonata No. 11 In A Major, K. 331: III. Rondo alla Turca
Polonaise-Fantaisie In A-Flat Major, Op. 61: Allegro maestoso

Tracks:

Mazurka In B minor, Op. 33 No. 4: Mesto
Nocturne In E Minor, Op. 72 No. 1: Andante
Piano Sonata No. 10, Op. 70: Moderato - Allegro - Puissant, radieux - Allegro - Piu vivo - Presto - Moderato
Piano Sonata In F Major, Hob. XVI: 23: I. Allegro
Piano Sonata In F Major, Hob. XVI: 23: II. Adagio
Piano Sonata In F Major, Hob. XVI: 23: III. Finale
Blumenstuck In D-Flat Major, Op. 19: Leise bewegt
L'ISLE JOYEUSE: Quasi una cadenza - Tempo.
Vallee d'Obermann: Lento assai - Piu lento - Un poco piu di moto ma sempre lento - Presto - Lento

Tracks:

Ballade No. 1 In G Minor, Op. 23: Largo - Moderato - Meno mosso - Presto con fuoco
Nocturne In F Minor, Op. 55 No. 1: Andante
Polonaise In F-Sharp Minor, Op. 44: Tempo di polacca - Doppio movimento, tempo di Mazurka - Tempo I
Sonata In E major, K 380 (L23): Andante commodo
Sonata In G major, K 55 (L335): Allegro
Arabeske In C Major, Op. 18: Leicht und zart
Etude In D-Sharp Minor, Op. 8 No. 12: Patetico
Traumerei
Variations On A Theme From Bizet's Opera 'Carmen'

Tracks:

Sonata In E-Flat Major, Op. 12 No. 2: III. Rondo
Adagio sostenuto In F Major
Sonata In B-Flat Major, Op. 25 No. 3: II. Rondo
Sonata In A Major, Op. 50 No. 1: II. Adagio
Corale Prelude 'Lch ruf zu dir, Herr Jesu Christ'
Sonata In F-Sharp Major, K 319 (L35): Allegro
Sonata In G Major, K 260 (L124): Allegro
Sonata In C Major, HOB. XVI: 48: I. Andante con espressione
Sonata In C major, Hob. XVI:48: II. Rondo
Sonata No. 28 In A Major, Op. 101: I. Allegretto ma non troppo
Sonata No. 28 In A Major, Op. 101: II. Vivace alla Marcia
Sonata No. 28 In A Major, Op. 101: III. Adagio ma non troppo, con affetto - Allegro

Tracks:

Piano Sonata No. 14 In C-Sharp Minor, Op. 27, No. 2 'Moonlight': I. Adagio sostenuto
II. Allegretto
Piano Sonata No. 14 In C-Sharp Minor, Op. 27, No. 2'Moonlight': III. Presto agitato
Piano Sonata No. 21 In C Major, Op. 53 , 'Waldstein-Sonata': I. Allegro con brio
Piano Sonata No. 21 In C Major, Op. 53 , 'Waldstein-Sonata': II. Introduzione. Adagio molto - attacca
Piano Sonata No. 21 In C Major, Op. 53 , 'Waldstein-Sonata': III. Rondo. Allegro moderato - Prestissimo
Piano Sonata No. 23 in F Minor, Op. 57, 'Appassionata': I. Allegro assai
Piano Sonata No. 23 in F Minor, Op. 57, 'Appassionata': II. Andante con moto -attacca
Piano Sonata No. 23 in F Minor, Op. 57, 'Appassionata': III. Allegro, ma non troppo - Presto

Tracks:

Mazurka in A minor, Op. 17 No. 4: Lento, ma non troppo
Etude in G-flat major, Op. 10 No. 5: Vivace
Introduction & Rondo In E-Flat Major, Op. 16: Introduzione. Andante - Rondo. Allegro vivace
Waltz in A minor, Op. 34 No. 2: Lento
Polonaise in A-flat Major, Op. 53: Maestoso
Mazurka in F-sharp minor, Op. 59 No. 3: Vivace
Mazurka in C-sharp minor, Op. 50 No. 3: Moderato
Mazurka in D-flat major, Op. 30 No. 3: Allegro non troppo
Mazurka in E minor, Op. 41 No. 2: Andantino
Mazurka in D major, Op. 33 No. 2: Vivace
Etude in C-sharp minor, Op. 10 No. 4: Presto
Etude in E major, Op. 10 No. 3: Lento, ma non troppo
Etude in C minor, Op. 10 No. 12: Allegro con fuoco
Prelidu In B Minor, Op. 28 No. 6: Lento assai

Tracks:

Posonaise in A major, Op. 40 No. 1: Allegro con brio
Prelude in D-flat major, Op. 28 No. 15: Sostenuto
Etude in E-flat minor, Op. 10 No. 6: Andante
Etude No. 2 in A-flat major from 'Trois Nouvelles Etudes': Allegretto
Mazurka In F Minor, Op. 7 No. 3
Waltz in C-sharp minor, Op. 64 No. 2: Tempo giusto
Variations On A Theme By Clara Wieck From Sonata No. 3 In F Minor,Op. 14: Andantino
Kreisleriana, Op. 16: I. Ausserst bewegt
Kreisleriana, Op. 16: II.Sehr innig
Kreisleriana, Op. 16: III. Sehr aufgeregt
Kreisleriana, Op. 16: IV. Sehr langsam
Kreisleriana, Op. 16: V. Sehr lebhaft
Kreisleriana, Op. 16: VI. Sehr langsam
Kreisleriana, Op. 16: VII. Sehr rasch
Kreisleriana, Op. 16: VIII. Schnell und spielend

Tracks:

Impromptu In A-Flat Major Op. 90 (D899) No. 4: Allegretto
Impromptu In F Minor Op. 142 (D935) No. 1: Allegro moderato
Impromptu In A-Flat Major Op. 142 (935) No. 2: Allegretto
Impromptu In E-Flat Major Op. 90 (D899) No. 2: Allegro
Consolation In E Major S. 172 (R.12) No. 2
Pour les arpeges composes: Dolce e lusingando
La terrasse des audiences du clair de lune: Lent
Etude In A Minor Op. 104b No. 3: Allegro vivace
Scherzo & March S. 177 (R.20)

Tracks:

Feuillet d'album In E-Flat Major Op. 45 No. 1: Andante piacevole
Etude In F-Sharp Minor Op. 8 No. 2: A capriccio, con forza
Etude In B-Flat Minor Op. 8 No. 11: Andante cantabile
Etude In D-Flat Major Op. 8 No. 10: Allegro
Etude In A-Flat Major Op. 8 No. 8: Lento (Tempo rubato)
Etude In F-Sharp Major Op. 42 No 3: Prestissimo
Etude In F-Sharp Major Op. 42 No. 4: Andante
Etude In C-Sharp Minor Op. 42 No. 5: Affannato
Etude Op. 65 No. 3: Molto vivace
No. 1: Allegretto
2 Poemes Op. 69: No. 2: Allegretto
Vers la flamme Op. 72: Allegro moderato
Feuillet d'album Op. 58
Fairy Tale In A Major Op. 51 No. 3
Sonata No. 2 In B-Flat Minor Op. 36: I. Allegro agitato
Sonata No. 2 In B-flat, Minor, Op. 36: II. Non allegro
Sonata No. 2 In B-Flat Minor, Op. 36: III. Allegro molto
Prelude In G-Sharp Minor Op. 32 No. 12: Allegro
Moment musical In B Minor Op. 16 No. 3: Andante cantabile
Etude-Tableau In E-Flat Minor Op. 33 No. 5: Non allegro - Presto
Etude-Tableau In C Major Op. 33 No. 2: Allegro
Etude-Tableau In D Major Op. 39 No. 9: Allegro moderato (Tempo di Marcia)

Amazon.com

It may surprise you to learn that, despite his untouchable reputation with the public, Vladimir Horowitz enjoyed a certain dubious reputation with the critics. For many, he was the epitome of the witless virtuoso, all technique and vulgar display, and no brains. There was some truth in this to the extent that he really could be variable on record, but by general consensus his Masterworks recordings show him at his absolute best. Aside from his famous Carnegie Hall concerts from 1965, you get stunning performances of music by Schumann, Haydn, Beethoven, Chopin, Scriabin, and above all, Scarlatti--the composer that Horowitz, more than anyone, put back on the map for pianists the world over. A great set. --David Hurwitz

Customer Reviews:

Horowitz: good. Amazon: good. Sony Classical: BAD........2004-05-24

I bought this set in December, and because I have so many classical CD's (more than 300), it took me 5 months to realize that the set contained TWO volume 8's and NO volume 9's. Worried that it might be too late, I e-mailed Amazon. Their first reply was that the replacement was already on its way (with return shipping paid for as well). Wow, that was a relief!

When I got the new set, I decided to study it closely and make sure that everything was good. It turns out that several of the discs (in both sets) had holes through the aluminum reflective layer -- which seemed to be because it was too thin to begin with. One disc was cracked, and another looked like the aluminum was "rotting out" on the edge. You would think that for $230, Sony Classical would put more quality into their discs. So what good is "Super Bit Mapping" and "High Definition Remastering" if the discs are so cheap that the player will misread the data? And I don't have much confidence that the discs will last many years, either.

Fortunately I got to pick the best discs from the 2 sets, so I won't need to replace this one for another. But I certainly lost respect for Sony Classical.

And kudos to you Amazon; you're really looking out for your customers!

ARE YOU CRAZY RICH OR CRAZY STUPID?.......2002-08-25

Why would any one in the right mind plunk down [money] for 13 CDS by the same pianist? Is it so you can brag about owning 11 years' worth of the same old thing? Or did you get it as a gift designed to impress but not really to listened to? Now you could probably get [money] for it whether you used it or not. Columbia Masterworks should have brought along new and younger talent. For my bet I can't think of many American pianists who are currently recording. Do we have to recycle Schumann, Rachmaninoff, Schubert, Beethoven, Liszt, Chopin, Scriabin, and others over and over? This is the Twenty-first Century. We should at least be thinking of Twentieth Century piano works. I can get 10 CDs by 10 pianists currently recording if I look to Europe.

merely spectacular!.......2001-03-10

I've only had this set about a week and have already indulged three complete listenings; it's a gold mine! - the power of preaching is persuasive in the Temple of Horowitz! I'm taken aback by the unity and continuity of sonics, an excellent and remarkable display of high engineering art. Everything important is here (almost! I wish some of the Scriabin Preludes had been included). There are sketches of incomparable pianism and supreme intelligence in these discs: Liszt's 'Vallee d'Obermann', and the Consolations; Debussy's 'L'isle joyeux' - so 'russian playing french'! - Scriabin's 'Vers le flamme' and the Black Mass sonata - one simply can't climb out of the volcano, it's terrifying and beautiful! - and the Scarlatti and Chopin. Only Gilels approaches Horowitz's indigenous understanding of Chopin. In the course of thirteen discs the glory can start to crash in around you, but at the last moment of endurance along comes 'Serenade of the Doll', or one of the Consolations. The Bach-Busoni is cerebral and fine. Horowitz gets rapped for the wrong romanticism - it's the romanticism of artistic intelligence that his art claims! I love that famous C clunker at the beginning of the Bach-Busoni in the Return to Carnegie Hall recital; more than that, I appreciate how Horowitz played his public pride in it, no retouches, etc. Shrewd, and very real, I think. He was a pianist of enormous humility on the inside, so completely knowing of his gifts - one of the reason his playing was something special. He possessed the often disregarded ability to stand completely outside his playing and admire it as one might a beautiful woman, with complete humility. It affords us the privilege of reaping joy after joy of a remarkable art the likes of which will surely stand true for a long time. 200 bucks is a lot of money, I probably would have thought it too much for the convenience of a collection; I'm glad someone else didn't feel that way, and gave me the set! - now I find it curiously too clever a package to be considered merely a consolidation of recordings into a 'set' - there is something indefinably congruent about these recordings. They fit together with harmonious intent, and shine and shadow the land with a marvelous music. Highest recommendation without reservation.

I have never regretted buying this..........2000-08-22

Considering that this set is devoted to a single instrument played by one artist in a 12-year period, the depth is mind-blowing. If variety is the spice of life, than this set is a very warming set indeed.

For the most part, Horowitz communicates a deep respect for the specific style of each composer: his Scarlatti is done articulately and without any smear with the pedal. His Liszt is demonic. His Rachmaninov is dazzling, with all of the "superfluous" notes (!) and Russian virtuosity in tact. Horowitz's Schumann is sensitive, passionate and Romantic.

And then there are his interpretations of Chopin. To me, Vladimir Horowitz is one of Chopin's best ambassadors. In particular, I draw attention to the Polonaise-Fantaisie in Vol. 3 and the mazurkas and etudes of Vol. 7.

For a good summary of this collection, listen to Vol. 4, "The Legendary 1968 TV Concert." Applause is omitted between selections, and the repertoire is tailored to Horowitz's pianistic gifts.

The first disc of Vol. 3 (Including the Bach-Busoni Toccata and the Schumann Fantasy) is not top-notch piano-playing... It's a little sloppy and inaccurate. I'm sure there are other minor slips elsewhere in this collection, but here they are most obviously seen.

Regardless, this collection is a MUST for Horowitz fans. Save up your money little by little and go and buy it. It is truly the most rewarding purchase of classical music I have ever made.

The greatest 20th Cent. pianist at his best!.......2000-04-15

If you were to take a set of piano music from only one performer to a desert island, this would be the set. Vladimir Horowitz was a pianist of incredible, almost unique, technical prowess capable of creating wonderful piano textures and tone colorings, and possessing his own dark, distinctive sound on a wonderful Steinway he had transported to each of his concerts or studio recording sessions. Of almost limitless ability, he suffered criticism from music critics because he severely limited his performing repertoire and stayed away from the concert stage for several prolonged periods because of his terrible insecurity and stagefright. He was especially criticized in his early years for bravura performances which were brilliant, but loud and not always tasteful. He was known for giving his enthralled audiences what they wanted, but it should be remembered that he championed Scarlatti and almost single-handedly brought him back into the performing world from near-oblivion, and it was Horowitz who premiered several important works by twentieth century composers such as Barber and Khatchaturian. He kept the works of the mysterious and exotic Alexander Scriabin from disappearing from piano benches in the conservatories, and he created some of the most imaginative and thrilling encore transcriptions ever heard in the concert hall. In later years, his repertoire expanded and he played some wonderful Mozart, Haydn, and Beethoven, much of which is featured in this set. The highlight of this disc collection from the early 60's through about 1973 is the historic return concert at Carnegie Hall in 1965. After a self-imposed exile from public performing for 12 years, he made this famous recital which is one of the most memorable in the history of recorded piano performance. Although he made several nerve-induced mistakes in the opening Bach piece, he settled down quickly and delivered a thrilling performance, highlighted, for me, at least, by the Chopin Ballade in G minor, which took away my breath and featured one of the most dazzling climaxes I have ever heard on a piano. His incredible performance possessed a youthful vitality which belied his 62 years. Throughout the other discs in this set one hears Horowitz at his best: still technically awesome yet more musically mature and capable of producing little miracles from pieces well-known, and less-known. No longer pandering to the expectations of the audience, he gave as his encore at the Carnegie Hall return concert, a precious, child-like Traumerei from Kinderszenen. The Schumann featured on these discs includes some of the most beautiful offerings available anywhere of this composer, including a wonderful Fantasy in C and perhaps the best performance ever on record of Kreisleriana. The Schubert impromptus are little miracles, and the Debussy that's thrown in makes us fantasize about the other French music he could have given us! His wonderful Chopin reminds us there are other views besides Rubinstein's to this most-important-of-all piano literature, and his Rachmaninoff is glorious. Performing into his eighties, he was a wonder of music and the 13 discs offered here give a personal record of a dazzling career from his very best years. It might be pointed out that several pieces are offered more than once in the set as they were recorded in several concerts and studio sessions and it is interesting to hear the differences in his performances. One might wish that his piano oeuvre had included more composers and a wider range of pieces, but this collection certainly highlights the work he was best known for, including as it does the various Chopin, Rachmaninoff, Liszt, Schumann, Scarlatti, Scriabin, Bach, Mozart, Haydn, Schubert, Clementi, and Beethoven gems he was noted for throughout his long career. Anyone loving the piano, or just beautiful music must hear these discs!

Vladimir Horowitz, Complete Masterworks Recordings 1962-1973, Vol. I: The Studio Recordings 1962-63

Average customer rating:

Horowitz at his Musical and Technical Prime
Delightful First Volume

Vladimir Horowitz, Complete Masterworks Recordings 1962-1973, Vol. I: The Studio Recordings 1962-63

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Toccatas | 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
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The Complete Masterworks Recordings, Vol. 4: The Legendary 1968 TV Concert
Vladimir Horowitz, Complete Masterworks Recordings 1962-1973, Vol. VI: Horowitz Performs Beethoven

ASIN: B00000290A
Release Date: 1994-07-19

Tracks:

Piano Sonata No. 2 In B Flat Minor, Op. 35: Grave-Doppio movimento
Piano Sonata No. 2 In B Flat Minor, Op. 35: Scherzo
Piano Sonata No. 2 In B Flat Minor, Op. 35: Marche funebre. Lento
Piano Sonata No. 2 In B Flat Minor, Op. 35: Finale. Presto
Etude - Tableau In E Flat Minor, Op. 39 No. 5: Allegro
Etude - Tableau In E Flat Minor, Op. 39 No. 5: Appassionato
Arabeske In C Major, Op. 18: Leicht und zart
Kinderszenen, Op.15 - Scenes From Childhood: Von fremden landern und Menschen
Kinderszenen, Op.15 - Scenes From Childhood: Kuriose Geschichte
Kinderszenen, Op.15 - Scenes From Childhood: Hansche-Mann
Kinderszenen, Op.15 - Scenes From Childhood: Bittendes Kind
Kinderszenen, Op.15 - Scenes From Childhood: Gluckes genug
Kinderszenen, Op.15 - Scenes From Childhood: Wichtige Begbenheit
Kinderszenen, Op.15 - Scenes From Childhood: Traumerei
Kinderszenen, Op.15 - Scenes From Childhood: Am Kamin
Kinderszenen, Op.15 - Scenes From Childhood: Ritter vom Steckenpferd
Kinderszenen, Op.15 - Scenes From Childhood: Fast zu ernst
Kinderszenen, Op.15 - Scenes From Childhood: Furchtenmachen
Kinderszenen, Op.15 - Scenes From Childhood: Kind im Einschlummern
Kinderszenen, Op.15 - Scenes From Childhood: Der Dichter spricht
Toccata In C Major, op. 7: Allegro
Hungarian Rhapsody No. 19 In D Minor: Lento patetico (Lassan) - Vivace (Friska)

Tracks:

Sonata In E Major, K 531 (L430): Allegro
Sonata In A Major, K322 (L483): Allegro
Sonata In G Major K455 (L209): Allegro
Piano Sonata No 8 In C Minor, Op. 13 'Pathetique': Grave - Allegro di molto e con brio
Piano Sonata No 8 In C Minor, Op. 13 'Pathetique': Adagio cantabile
Piano Sonata No 8 In C Minor, Op. 13 'Pathetique': Rondo. Allegro
Impromptu In G Flat Major, Op. 90 (D 899) No. 3: Andante
Etude in C minor, Op. 10 No. 12: Allegro con fuoco
Etude In C Sharp Minor, Op. 25 No. 7: Lento
Scherzo No. 1 In B Minor, Op. 20: Presto con fuoco
3 Preludes: IV Les fees sont d'exquises danseuses. Rapide et leger
3 Preludes: V Bruyeres. Calme
3 Preludes: VI General Lavine - eccentric. Dans le style et le mouvement d'un Cake-Walk
Poeme In F Sharp Major, Op. 32 No. 1: Andante cantabile
Etude In C Sharp Minor, Op. 2 No. 1: Andante
Etude In D Sharp Minor, Op. 8 No. 12: Patetico

Amazon.com essential recording

This collection features wide-ranging repertory, including Russian Romantics like Rachmaninoff and Scriabin that were Horowitz's concert staples, all stunningly played. The Chopin "Funeral March" Sonata is taken at a flowing pace, with a crisp, touching march. Schumann's Kinderszenen is fetchingly done with disarming simplicity and heartfelt poetry. He "improves" Liszt's 19th Hungarian Rhapsody with doubling and rewriting, but it's no less exciting for all that. A stylish Beethoven "Pathetique" Sonata is treasurable for singing tone reined into a classical framework. A good overview of Horowitz's style and repertory with many delights. --Dan Davis

Customer Reviews:

Horowitz at his Musical and Technical Prime.......2003-01-06

Volume One of Sony's reissue of Vladimir Horowitz's Complete Columbia Masterworks Recordings contains studio recordings from 1962-63. His first three LPs for Columbia (Columbia Presents Vladimir Horowitz, The Sound of Horowitz, and In His First Recordings of...) were conceived as mini-recitals and have been carefully resequenced to fill two CDs.

By 1962, Horowitz had not performed in public for nine years. Frustrated with the repertoire restrictions, poor sound and lack of marketing he was receiving from RCA, he abandoned Little Nipper and signed on with Columbia Masterworks, headed by the legendary Goddard Lieberson. Thomas Frost was assigned as Horowitz's producer, and the two clicked immediately. The fine results they obtained can be heard here.

For decades Horowitz had a problematic relationship with Chopin's Second Sonata. A 1936 attempt to record the piece was aborted due to the pianist's first nervous breakdown (the first movement survives). Horowitz's 1950 recording for RCA is a bizarre collection of details, with a Funeral March that sounds like a Russian boat song on steroids. This 1962 recording is highly successful, however. Horowitz is obviously on top of the piece, technically, with his spare pedaling highlighting Chopin's use of counterpoint. The Funeral March is, for once, played with a crisp rhythm, the central section exquisitely balanced. He performed this work several times in the 1970s, but not as convincingly. The other Chopin works fare as well, including a passionate "Revolutionary" Etude and a tightly controlled B-minor Scherzo with a characteristically Horowitzian touch: Interlocking octaves replace Chopin's chromatic scales in the coda.

Schumann was Horowitz's favorite German composer. Here we have a swift Arabeske, painted in delicate watercolors, and a reflective Kinderscenen, featuring some remarkable voicing. Less successful is the Toccata, which is pianistically unstable and was spliced together virtually bar-by-bar (this remastering smoothes out the edits much better than previous issues).

Horowitz was less fond of Beethoven. He admired the Master's musical ideas and architecture, but was frustrated by Beethoven's piano writing, and many of Horowitz's Beethoven recordings are not convincing--although none could be classified as "bad." This version of the Pathétique (the only Sonata named by Beethoven himself) is one of the best ones, with a perfectly paced opening movement, a beautifully weighted Andante, and an unrushed Finale. Likewise with the lovingly voiced Schubert Impromptu, which is a great improvement over his 1953 recording which was performed in the wrong key!

Horowitz seldom played Debussy and recorded no Ravel. One wonders why, listening to the three Preludes from Book II included here. Horowitz's ability to control the lower levels of dynamics, playing soft-softer-softest, and his deft tone painting suit this music perfectly.

Of course, no Horowitz recital would be complete without Scarlatti, Scriabin and Rachmaninoff. The three Scarlatti Sonatas document Horowitz's increasing concern with authenticity, coupled with his ability to play with infinite grades of detachment and color. The Rachmaninoff and Scriabin illustrate Horowitz's huge dynamic range and unique understanding of Russian rhetoric.

Liszt's Hungarian Rhapsody No. 19 is a rather monotonous piece in the original version, but Horowitz's arrangement of it here unquestionably improves the piece. Not only is the work more spectacular with Horowitz's additions, but the pianist's editing maked the structure more coherent. This was originally the last piece on the first LP he made for Columbia, and it's obvious his intent was to show that although he had mellowed and matured, he could still play "like Horowitz" when he chose. He proved his point.

These recordings were produced at Columbia's legendary 30th Street Studio (actually a converted church) and the "360-degree" sound was widely praised in its day. The remastering has opened up the dynamics, and brought forth a fuller, more natural sound, reducing noise without overly capping the high frequencies.

Delightful First Volume.......2000-11-12

"The Studio Recordings 1962-1963" is the first of Vladimir Horowitz's incredible nine CD volumes of the Complete Masterworks Recordings, which are available individually or as a boxed set. Volume One features solo piano works by an amazing array of composers -- Beethoven, Chopin, Debussy, Liszt, Rachmaninov, Scarlatti, Scriabin, Schubert and Schumann. Several of these pieces I was not familiar with prior to purchasing this disc, especially Schumann's "Kinderszenen" and Horowitz's own transcription for Liszt's Hungarian Rhapsody No. 19, and they are wonderful additions to my collection. Some of the other pieces I do have other versions of, and it is delightful to hear the subtle differences in Horowitz's style and interpretation. I always thought Rubinstein was the best at playing Chopin, but Horowitz really gives him a run for his money. The Etudes and the Scherzo are played like they are Horowitz's old friends, and the "Funeral March" flows beautifully between the somber and revelatory passages. I might even have to give Horowitz's rendition the nod over Van Cliburn's version (see my review of that title). Horowitz handles Debussy's three Preludes (from Book II) with all the majesty of Walter Gieseking's classic recordings. And Horowitz's reading of Beethoven's "Pathetique" Sonata is equal, if not superior, to the version by Daniel Barenboim that is coupled with Tchaikovsky's "Pathetique" Symphony. Finally, Horowitz captures three Scarlatti sonatas (not featured on Volume 2) in the brilliant manner that only he could. This two-disc set is an essential purchase for the new and veteran classical music fan alike.

Vladimir Horowitz, Complete Masterworks Recordings 1962-1973, Vol. VI: Horowitz Performs Beethoven

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Close, but no Cigar
HE'S GREAT, BUT........
The Best Beethoven

Vladimir Horowitz, Complete Masterworks Recordings 1962-1973, Vol. VI: Horowitz Performs Beethoven

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000290F
Release Date: 1994-06-14

Tracks:

Piano Sonata No. 14 In C Sharp Minor, Op. 27, No. 2 'Moonlight': I. Adagio sostenuto
Piano Sonata No. 14 In C Sharp Minor, Op. 27, No. 2 'Moonlight': II. Allegretto
Piano Sonata No. 14 In C Sharp Minor, Op. 27, No. 2 'Moonlight': III. Presto agitato
Piano Sonata No. 21 In C Major, Op. 53 'Waldstein-Sonate': I. Allegro con brio
Piano Sonata No. 21 In C Major, Op. 53 'Waldstein-Sonate': II. Introduzione. Adagio molto - attacca
Piano Sonata No. 21 In C Major, Op. 53 'Waldstein-Sonate': III. Rondo. Allegretto moderato - Prestissimo
Piano Sonata No. 23 In F Minor, Op. 57 'Appassionata': I. Allegro assai
Piano Sonata No. 23 In F Minor, Op. 57 'Appassionata': II. Andante con moto - attacca
Piano Sonata No. 23 In F Minor, Op. 57 'Appassionata': III. Allegro, ma non troppo - Presto

Customer Reviews:

Close, but no Cigar.......2003-03-18

Volume Six of Vladimir Horowitz's complete Columbia Recordings features the legendary pianist in three popular Beethoven sonatas. It's no secret that Horowitz did not care for Beethoven's clumsy piano writing, was not regarded as a great Beethoven interpreter, and recorded these sonatas merely to satisfy contractual obligations. Though these sonatas were recorded in 1972 and 1973, Horowitz never played these particular works in public after 1953. Record company executives were the bane of Horowitz's existence until very late in his career, when he had attained so much notoriety that he could "record the C major scale and it would sell" in the words of Thomas Frost.

This is Horowitz's third recording of the de-rigeur Moonlight. As a performance, it is smoothed out and uneventful, slick and modern--even cold. The triplets of the opening movement lope along without having much meaning invested in them (a far cry from Horowitz's 1956 recording of the work which, despite its poor sonics, remains a benchmark in Beethoven performances). The Allegretto has some nice voicing, but the Finale's sudden accents are ignored, robbing the movement of much of its drama. One can admire the clarity of the playing here, as well as the technical finesse and excellent recorded sound, but Horowitz's heart is clearly not in this performance.

Horowitz's recording of the Waldstein Sonata in C major, Op.53, alternately delights and distracts. The clarity of the outer movements is remarkable, as is the unique kinetic energy. But, his feminine way of phrasing the first movement's second theme, beautifully voiced as it is, is especially foreign to Beethoven's masculine approach. The trills which accompany the main theme in the last movement are uncannily balanced, but purists will also be annoyed by Horowitz's rewriting of the finale's coda: where Beethoven has written octave glissandi, Horowitz substitutes octaves played presto and staccato. It has been speculated elsewhere that Horowitz considered the octave glissandi unplayable on the modern piano. Nonsense, I've played it as written myself, and so have many fellow pianists. Horowitz simply did not like the way Beethoven's writing sounded, so he changed it. Still, it cannot be said that this performances are boring (he's way ahead of Rubinstein's 1954 performance, which drags in the finale), and in today's homogenized pianistic culture, that alone is adequate recommendation.

Horowitz was more attuned to the bravura Sonata in F minor, Op. 57, the popular Appassionata. This 1972 recording is more successful than his more somber 1959 version. Horowitz allows more of his inate theatricality to come through, thereby increasing the drama of the piece. He also resists the temptation to stress the odd phrase for effect, at the expense of the whole, thereby increasing the structural cohesiveness. Especially noteworthy is the finale, taken at an unhurried tempo (it's actually easier to rush this movement), with virtually no pedal, but with overwhelming effect. Truly a triumph of the will over the limits of the flesh.

Sony has adequately remastered the sound, which is more full bodied than before, but remains rather dry.

HE'S GREAT, BUT...............2001-09-26

I'm an outright devotee of Horowitz, and I can rave with the best about much of his Chopin, Liszt, Rachmaninoff, Schumann, Brahms, Scriabin, Scarlatti and whatnot (especially whatnot). However I just have to risk spoiling the party here and issue a slight warning to Beethoven-lovers who might want to get these performances unheard on the strength of the unanimous enthusiasm in the other reviews. To get his Moonlight into perspective you just have to compare the performance by his great friend Rudolf Serkin, who was the real thing as a Beethoven interpreter. Tempi are very similar, particularly in the last movement, where not many have the steel fingers to attempt this kind of reading. But where Serkin is epic and menacing Horowitz just sounds angry. By comparison -- dare I say it -- he is a bit lightweight. And you do not have to be much of a purist to object quite strongly to the outright solecism at the end of the Waldstein, where he he bumps out the glissandos as separate notes -- what got into him? Again in the middle of the first movement of the Appassionata there is a thunderous fortissimo sequence followed by an abrupt pianissimo on the first beat of the bar. The effect is almost impossible to bring off exactly as written. Serkin can't quite do it: Richter actually does achieve it, though at the cost of a lot of liberty with the tempo and I suspect also some conniving with the recording engineers. Horowitz has his own solution -- he gives the first beat a resounding thwack and drops to pianissimo on the second. I say again I am a major fan of Horowitz, but I find him resistable in Beethoven.

The Best Beethoven.......2000-11-13

When I purchased Vladimir Horowitz's 13-disc "Complete Masterworks Recordings," I considered "Volume VI - Horowitz Performs Beethoven" to be a bonus. Of the nine CD volumes collected in the box set, the only one I already owned was "Volume 2 - The Celebrated Scarlatti Recordings," but I already had all three of the sonatas (Nos. 14, 21 & 23) featured on Volume VI on albums by other artists. I already had a "Moonlight" Sonata recording by Wilhelm Kempff, a "Waldstein" Sonata recording by Maurizio Pollini, and a "Appassionata" Sonata recording by Horowitz himself on RCA Living Stereo. Since I already loved the three performances listed previously, I figured I would use this disc as a nice comparison piece. Well, months later the Horowitz's "Volume VI" is the only one I come back to for repeated listenings. Horowitz's versions are simply magical, and he even outdoes his own earlier recording on RCA because his playing style seems wiser and more thoughtful. For a disc that I originally thought would simply be an extra in my collection, this one ended up being a favorite.

Beethoven: The Complete Masterworks [Box Set]

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Beethoven: The Complete Masterworks [Box Set]

Manufacturer: Mastertone Brilliant
ProductGroup: Music
Binding: Audio CD

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ASIN: B000027R7U
Release Date: 1999-05-11

Tracks:

Album Description

Import exclusive box-set includes Complete Symphonies, Piano Concertos, Violin Concerto, Piano Sonatas, Violin Sonatas, Cello Sonatas, String Quartets, Piano Trios, Masses, & Overtures performed by various artists including London Symphony Orchestra, Berliner Symphoniker, pianists Shoko Sugitani, John Lill, & more. Standard jewel cases housed in a flip-top box approx. 16 x 6 x 5''. Brilliant Classics.

Horowitz: Complete Masterworks Recordings, 1962-1973

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Horowitz: Complete Masterworks Recordings, 1962-1973

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B000025HDK
Release Date: 1993-10-05