Vladimir Horowitz: The Studio Recordings - New York 1985

Editorial Reviews
Amazon.com
At age 82, Vladimir Horowitz felt he had a few more things to say--like a new interpretation of Schumann's Kreisleriana and first recordings of works like Schubert's Marche militaire. Technically, age rarely showed in Horowitz's playing; interpretively, his age brought marvelous insights, as we hear on this fine program. The virtuoso is definitely at work here, but so is the "grand old master, in sovereign command of his resources." --David Vernier

Tracks:

Kreisleriana, Op. 16: 1. Ausserst bewegt. Agitatissimo
Kreisleriana, Op. 16: 2. Sehr innig und nicht zu rasch. Con molta espressione, non troppo presto - Intermmezo I. Sehr lebhaft. Molto vivace - Intermezo II. Etwas bewegter. Poco piu mosso - Langsamer (Tempo I). Piu lento
Kreisleriana, Op. 16: 3. Sehr aufgeregt. Molto agitato
Kreisleriana, Op. 16: 4. Sehr langsam. Lento assai
Kreisleriana, Op. 16: 5. Sehr lebhaft. Vivace assai
Kreisleriana, Op. 16: 6. Sehr. langsam. Lento assai
Kreisleriana, Op. 16: 7. Sehr rasch. Molto presto
Kreisleriana, Op. 16: 8. Schnell und spielend. Vivace e scherzando
Sonata In B Minor, K. 87 (L. 33)
Sonata In E Major, K. 135 (L. 224): Allegro
Impromptu, ('Nocturne') In F Sharp Major
Valse oubliee No. 1: Allegro
Etude In D Sharp Minor, Op. 8 No. 12: Patetico
Impromptu In B Flat Major, D 935 No. 3: Thema. Andante - Variazone I-V
Military March In D Flat Major, D 733 No. 1: Marche militaire

Amazon.com

At age 82, Vladimir Horowitz felt he had a few more things to say--like a new interpretation of Schumann's Kreisleriana and first recordings of works like Schubert's Marche militaire. Technically, age rarely showed in Horowitz's playing; interpretively, his age brought marvelous insights, as we hear on this fine program. The virtuoso is definitely at work here, but so is the "grand old master, in sovereign command of his resources." --David Vernier

Customer Reviews:

Magical.......2006-03-03

A very personal Kreisleriana that's probably unmatched for depth and colour. Perlemuter, too, recorded the piece in his eighties and achieves a very fine result.

Many top recordings, including the earlier Horowitz, are rushed, conformist and dull. A stark exception is Helene Grimaud who balances lyricism and power to great effect. Hers and this second Horowitz stand well out of the crowd.

A reason to live to be 83.......2005-08-14

One of my early teachers told me in a lesson, "that was quite good, but you'll play it better when you're forty." Now that I'm getting uncomfortably closer to that age, it's heartening to see how much far Horowitz's 1985 Kriesleriana, recorded when he was almost 83, outshines his 1969 recording, made when he was a mere 65 or so. I bought this recording when it came out in 1986, and althought I accumlated a number of other recordings of it around the time I learned the piece, this recording remains the most convincing performance I've heard, even in places where I don't *agree* with Horowitz's interpretation. The virtuosity of this performance lies especially in its extreme, yet completely natural, rhythmic freedom, and in its highly intelligent-- and gorgeous-- voicings. His personality is also well suited to the dialectical nature of the pieces. The piece is now thought to be based on Hoffman's _Life and Opinions of the Tomcat Murr_: Horowitz's tempermental virtuoso side reflects Hoffman's Kriesler, while his more contemplative, whismsical side perfectly portrays the Tomcat Murr, years before a connection between Hoffman's novel and Schumann's work was made (in print, anyway). Of the shorter items on the CD, Scarlatti K. 87 sonata, stands out in particular for its impeccable phrasing (even though he plays from an edition with a couple glaring mistakes in it).

AT 82 HOROWITZ PLAYS WITH SENILITY, NUANCE, INTELLECT.......2002-08-25

Joachim Kaiser wrote "An what is still absolutely gripping is that romantic, virtuosic mixture of sensuality, nuance, and intellect." I prefer senile. Still Horowitz played Schumann and Scarlatti about the same way when he was 61. Just because he had mental problems and a great wife doesn't mean he should not let other American pianist have a try at performance.I have heard far more energetic Kreisleriana performances in less than 31 minutes.

The True Horowitz... Absolutely necessary.......2001-04-24

Before I bought this CD I had a very close-minded notion of Horowitz's playing from the recordings I had of him, especially from around the 50s a early 60s (before his temporary retirement); very harsh tonality, 'twiddly' superficial fingering, rushing through pieces, and overall somewhat awkward. I wondered what the heck everyone was ranting about him being the greatest pianist ever for.

Much like Heifetz, however, Horowitz's sound could only be appreciated either in a live concert (which I never was able to attend, unfortunately) or modern digital recording.

This CD demonstrates, first and foremost, the incredible sound that Horowitz had that no doubt filled a concert hall. Incredible tonal colors (even Schubert's Military March), perfectly controlled sonority without 'banging' (some of it's pedal but some is also the way he can hit the keys. Horowitz knew the instrument like no other), and smooth natural fingering.

This is, of course, not to take away from the musical quality of the pieces. For those who are already familiar with Horowitz, this recording is also special because it has both recordings that Horowitz has never made before and some of his favorite pieces of music that he developed a different notion about than before. Consequently, these pieces are slower and more thoughtful (Similar to Gould's rerecording of the Goldberg variations in 1982)...But still VERY EXCITING!

The True Sound of Horowitz.......2000-04-13

Schumann's Kreisleriana was a Horowitz speciality. The interpretation here is freer, looser structurally than his 1969 recording. For me, the earlier version is still unmatched in its' concentration and the laying bare of Schumann's duality--in my opinion it remains Horowitz finest solo recording. But this 1985 version also has a lot going for it--the tempos are so flexible, without losing the basic meter; and the phrasing is just so "right."

Thus is it with the rest of the recording. This is some of Horowitz' most romantic Scarlatti playing, almost as if Scarlatti were a baroque Chopin--not as outlandish as it seems, as Chopin adored Scarlatti's music.

The Liszt Valse Oubliee was another Horowitz specialty, he recorded it at least three times officially, this one is my favorite. Horowitz captures Liszt's mystical eroticism in a way few others have matched. The Impromptu from 1872 is rarely played, and hearing it one understands the comment that Horowitz can get forty colors from a piano by striking two keys.

The Scriabin Etude is the central romantic pivot in this recital. Horowitz plays it differently here than in earlier recordings, beginning quietly and building to a stunning climax.

The Schubert Impromptu is played with more flexibility than we would here from such modern imterpreters as Brendel. But past Schubert specialists like Schnabel didn't feel the need to be human metronomes to reveal the structure of the piece. Horowitz imbues the piece with that long lost quality known as charm, and the running scale passages in the final variations are as well balanced as a string of pearls.

Customer Reviews:

The True Sound of Horowitz.......2007-03-16

As someone who heard Horowitz in recital (Boston, October 19, 1986, I will never forget that day) I can report that this CD comes closer than anything else I have heard to the real thing. This is a demonstration quality disc and a must for piano fans.

Schumann's Kreisleriana was a Horowitz speciality. The interpretation here is freer, looser structurally than his 1969 recording. For me, the earlier version is still unmatched in its concentration and the laying bare of Schumann's duality--in my opinion it remains Horowitz's finest solo recording. But this 1985 version also has a lot going for it--the tempos are so flexible, without losing the basic meter; and the phrasing is just so "right."

Thus is it with the rest of the recording. This is some of Horowitz's most romantic Scarlatti playing, almost as if Scarlatti were a baroque Chopin--not as outlandish as it seems, as Chopin adored Scarlatti's music.

The Liszt Valse Oubliee was another Horowitz specialty, he recorded it at least three times officially, this one is my favorite. Horowitz captures Liszt's mystical eroticism in a way few others have matched. The Impromptu from 1872 is rarely played, and hearing it one understands the comment that Horowitz can get forty colors from a piano by striking two keys.

The Scriabin Etude is the central romantic pivot in this recital. Horowitz plays it differently here than in earlier recordings, beginning quietly and building to a stunning climax.

The Schubert Impromptu is played with more flexibility than we would here from such modern imterpreters as Brendel. But past Schubert specialists like Schnabel didn't feel the need to be human metronomes to reveal the structure of the piece. Horowitz imbues the piece with that long lost quality known as charm, and the running scale passages in the final variations are as well balanced as a string of pearls.

The Military March is rather like Horowitz's arrangement of Stars and Stripes, but at somewhat lower voltage. Still, it is a dazzling delight, and a rousing conclusion to a marvelous recording.

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