Vladimir Horowitz 3

Editorial Reviews
Amazon.com Classical Music Reviews
Even with the end-of-century hindsight Philips's mammoth piano pantheon affords, Vladimir Horowitz merits the maximum number of volumes (three) allotted to any single artist. And there's still a giant fan base willing to declare him the "greatest pianist" (whatever that means) of the 20th century. The series has magnificently culled from the enormous recorded catalog to include portraits of the quintessential as well as the lesser-known Horowitz. Volume I allows you to trace this legend's evolution, from start to finish of a remarkably lengthy career, in interpreting one composer: Robert Schumann. This third volume does something similar with Chopin (filling up the first disc), while also including one of Horowitz's signature pieces, the Rachmaninoff Piano Concerto No. 3, and a once-reigning "Emperor" that has since been more or less crowded out of the field.

Chopin may well be among the more controversial areas of "Horowitzian" interpretation, particularly apt at showing up certain stylistically dated qualities--or perhaps it's that we'd like to think ourselves more immune to the thrills of pianistic hyperathleticism and showy dazzle (witness the hurly-burly at the end of the middle section in the Opus 10, No. 3 Etude, from 1951). Already in the tinny mono of 1934's "Black Keys" Etude, there's an indelible sparkle, the pride of a lionized and risk-hungry young star. But for all the extroverted demeanor Horowitz brings to Chopin's poetry--who can after all resist the firestorming confidence and stage effects he brings to the A-flat Polonaise (from a 1945 recording)?--the artist also grew to encompass a subtler, more fractured, and more hauntingly interior view, as in the C-sharp Minor Etude (from a live Boston performance in 1980). The solo pieces make a fascinating contrast with the two concertos, both led by Fritz Reiner. The Beethoven, curiously, ends up sorely lacking some of the very Horowitzian qualities that get overdone elsewhere--too tame in the rondo above all--but it's still a vastly compelling interpretation with a regal, broad view of the first movement and much gentle poetry in the Adagio. Horowitz was indeed the first ever to record the Rachmaninoff Third, and the kaleidoscopic 1951 account included here still holds its ground for virtuosity, burning intensity, and musical conviction. All told, this finale to the Philips portrait of the artist is appropriately many-faceted--full of insights for the initiated and an engrossing introduction if you're just discovering this crucial figure. --Thomas May

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 Returns to Moscow at the Age of 82
My favorite classical recording of all time.
Oh, God...5 stars would be simply unfair...
Magnificent!!! Bravo Horowitz!!
Amazing

Horowitz in Moscow

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polkas | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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Horowitz: The Last Recording
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Horowitz Live and Unedited [includes Bonus DVD]
Horowitz Plays Scriabin

ASIN: B000001G7Y
Release Date: 1990-10-25

Tracks:

Sonata In E Major, K.380 (L.23): Andante Comodo
Piano Sonata In C Major, K.330 (300 h): Allegro Moderato
Piano Sonata In C Major, K.330 (300 h): Andante Cantabile
Piano Sonata In C Major, K.330 (300 h): Allegretto
Prelude In G Major, Op.32, No.5: Moderato
Prelude In G Sharp Minor, Op.32, No.12: Allegro
Etude In C Sharp Minor, Op.2, No.1: Andante
Etude In D Sharp Minor, Op.8, No.12: Patetico
Soirees De Vienne: Valse-Caprice No.6: Allegro Con Spirito
Sonetto 104 Del Petrarca: Agitato Assai - Adagio
Mazurka In C Sharp Minor, Op.30, No.4: Allegretto
Mazurka In F Minor, Op.7, No.3: Allegretto
Kinderszenen: Traumerei
Etincelles, Morceau Caracteristique Op.36, No. 6: Allegro Scherzando
Polka de W. R.: Allegretto

Amazon.com essential recording

Along with the extramusical significance of the aged Horowitz's return to his erstwhile homeland, there's plenty here for seekers of the essential Horowitz. Perhaps his finest Mozart recording, the C-major Sonata, gets a forward-moving reading distinguished by an Andante Cantabile movement that sings the music with the tonal splendor and command of line characteristic of the beloved bel canto singers of the past whom Horowitz looked to as musical models. The program's remainder is as formidable, and only a curmudgeon could fail to smile with delight at a favorite Horowitz encore, Rachmaninoff's Polka de W.R. --Dan Davis

Customer Reviews:

Horowitz Returns to Moscow at the Age of 82.......2007-05-06

This profoundly beautiful recording was made in 1986, when Horowitz was 82. This was his first visit since he had left his homeland at the age of 22. The recording itself will make you cry, and when you read the CD insert, written masterfully by Charles Kuralt, of CBS News, you will cry some more. Mr. Kuralt speaks of Horowitz's life away from his homeland and his return. Many touching pictures of Horowitz with his wife, family, and music students enhance Mr. Kuralt's write up.
This recording of the live performance of Horowitz is superb. You will sit with your body rigid, with your hands cold and clenched, and with a smile of anticipation glued on your face, and will wait for the great maestro to play. Here you are, imagining that you are in Moscow, right there and then, and you are moved to tears by the music. What is it about the great performers that they make you breathless with the anticipation of the next note, although you know all these timeless favorites so well? In the search for an answer, I have gone so far even to read the books and articles about the biological foundation of music. I did find information about the neuronal connections and developments of various areas in the brains of the musicians. However, I did not find an explanation as to why is it that the average listener gets uplifted and enriched so much by the music when it is played by the great performers, but may be completely uninvolved when the lesser musicians play the same music. Do we have some sort of music receptors that can be triggered only by the selected few? In the absence of a scientific explanation, I have temporarily accepted that there is some sort of magic, which flows through the performer, and every soul in the concert hall. The great performers know how to make this magical connection with the average listeners. Somehow, I believe, the performer and the audience feed on each other.
I remember reading somewhere how Horowitz loved to perform. He said that he could make people in the audience hold their breath while his hand is up, in the great anticipation of his hand coming down to the keyboard. Yes, it is true; I was literally dying in the anticipation of the next note in many passages. Mr. Horowitz is a great master of passion. Just when you think that you cannot take any more passion, he tones it down, but he never lets the momentum of passion be lost.
You will love to death Horowitz's selection, each a real gem: Sonatas by Scarlatti and Mozart, Preludes by Rachmaninov, Etudes by Scriabin, Chopin Mazurkas, and much more.
You will love this recording!

My favorite classical recording of all time........2007-03-19

I have a couple of hundred classical CDs, and like most of them. But this is the one I play the most. It mixes familiar piano works with others that were entirely new to me.

The concert was held during Horowitz's first return to Moscow, and the emotion of both artist and audience seem audible. Anyhow, the playing is inspired.

Oh, God...5 stars would be simply unfair..........2006-06-07

Upon hearing this record for the first time, I had to pinch myself to make sure I was actually listening to such an amazing, if not perfect display of talent and beauty. After having listened to it over and over again along the years, maybe more than 1000 times, I still find it hard to believe that the guy was even a human being. The only fair review for such a record would be a wordless one: nothing I can write or say would do justice to the rich, almost infinte world of emotions, thoughts and colors he's able to convey through his playing. 20 stars. ;-)

Magnificent!!! Bravo Horowitz!!.......2006-01-07

I remember hearing all about this concert in Moscow when I was a kid. Whatever I thought - so some old guy played in Mosocw.

Well, reader you must forgive me for my stupidity, because for some time I realize the greatness of Maestro Horowitz, and the importance of his playing in Moscow, his hometown and homeland after 60 years.

I bought this album because I remember the hoopla in 1986. I was not dissapointed. The playing is emotional and incredible. Horowitz really was an amazing piano player - the ability to hold rapture over the audience is captured here. Those fingers -connected to a difficult, sole-eating, slight, Russian man - were magic. Wow. Those beautiful notes he plays hold in the air like ripe fruit. A master at work!

This was an inspired performance by a magician on the ivories. If your wondering what the fuss was about, or you want a CD that expresses how classical music can move the soul - then I recommend this CD very highly. Along with the Three Tenors IN Concert, it just has some inherent quality to move you.

Horowitz may have made better studio recordings, and better live recordings, but I am convinced this is just a good. I join along with the gentleman who can be heard yelling "BRAVO" at the conclusion of several pieces. BRAVO!

Amazing.......2005-11-19

Every now and then throughout history a genius in a certain area or discpline emerges. Whether it is Newton, Mozart, Freud. Horowitz falls into this category. Although there are some contrarians who don't like Horowitz, these people are usually not pianists and mere amateurs. Not for nothing he is considered one of the best if not the best pianists. Saying someone does not appreciate Horowitz is the equivalent of the creationists denying evolution.
Horowitz does things with the piano that are practically impossible to emulate or duplicate. His control over color, sound and pedalling dynamics just boggles the mind. He balances left hand right hand accents in a unique way. Horowitz reaches what is in my opinion the most technically challenging accomplishment, namely being ablt to play multiple voices simultaneously as if they all are autonomous one from the other, namely, playing three voices in which one has a crescendo, another a descrescendo and a third staying the same. I challenge any pianist to go to the piano and play 10 different level of marginal volume differences. starting from forte to pianissimo. For non musicians... this is like a shotput thrower throwing the shotput 100 times and hitting 50 feet, then 50 feet and 1/4 inches, 50 and half inches (you get this point) back and forth. This control over volume is just unparralled in the world of music. It is as if Horowitz fingers have their own brains and can do things that boggle the mind. This is akin to inducing schizophrenia in mice. There is NO ONE in the solar system who can play like this.

Average customer rating:

Horowitz: The Last Recording
absolutely outstanding
The Last and One of the Very Best
Some Enchanted Evening ...
Last, but Not Least

Horowitz: The Last Recording

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

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Similar Items:

Horowitz in Moscow
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ASIN: B000009IG6
Release Date: 1990-03-30

Customer Reviews:

Horowitz: The Last Recording.......2006-03-27

This album was the last ever made by this awesome legend of piano-playing. Recorded at his own home in six sessions over twelve days, it is stunning to realise that this performance comes from a man of 86 years of age. I thought I had heard just about everything he had ever recorded. This album includes music he had never before played publicly at least not in the USA - or recorded.
Haydns Eflat Sonata No 49 sparkles from start to finish, full of typical Horowitzian colour and drama, yet classical in flavour and beautifully balanced.
A Mazurka, two Nocturnes and two Etudes by Chopin, and Liszts arrangement of Wagners Liebestod follow, each pianistically fabulous in terms of colour, multiple singing melodic lines, textural richness and clarity.
The popular and much-hackneyed Fantasie Impromptu flows unexpectedly quieter than one usually hears it played, which is rather refreshing. I took a while to get used to the absence of sentimentality in the middle section.
The Weinen Klagen Praeludium is a gem. This late Liszt composition is not particularly well-known. In his later years Liszt explored and developed visionary harmonic ideas, which are exemplified in the richly chromatic Praeludium. Horowitz brings its darkly exquisite harmonies to life with turbulent intensity. Although it comes second to last, I understand this was the last piece of music recorded for this disc, therefore the last ever recorded by the maestro. This recording was completed on 1st November 1989. The maestro died on November 5th 1989.
A few quirky features here and there, but it would not be vintage Horowitz without those. Essential listening for piano music lovers and especially Horowitz fans.

absolutely outstanding.......2006-02-24

There are a few "bests" here in my opinion so lets list them one by one. This is the best Haydn by far. Horowitz really brings the piece to the summit of artistry but also interpretation. It so hard to comprehend how a pianist can take the aristrocratic and relatively reserved Haydn sonatas and turn them into a potpourri of colors. Everything is here - the typical surreptitious Haydnian staccato - a slow movement with real cantabile. Its a shame that Horowitz didn't record more Mozart and Haydn.
Horowitz playing of both of the etudes here are just sensational. How creative can you get?!!! Bringing out inner voices and colliding/merging them with others. Also the first nocturne is the best I have ever heard.
I must be frank and say that the fantasie-impromptu didn't make me too happy. Its played a little bit sloppy and I don't understand what he is trying to convey with the middle section which plays kind of fast and loud. I think this might have to do witht the fact that the piece is overplayed but who knows.

This is a pianist that has no limits. He can play 1000 different types of staccato, legato, etc... but he also has emotion. Horowitz is up there in heaven looking down and shaking his head at all the immitators.

The Last and One of the Very Best.......2005-11-23

It is truly amazing to think that Horowitz was 86 years old when he made this recording. The virtuoso passages of Chopin that require fingertip pyrotechnics are played with flawless precision and a sense of nuance and shading that is exquisite. At his very best, Horowitz took music to a level where he made the piano into his palette and painted a marvelously subtle musical picture. On the slower passages, every note and even the intervals between the notes exhude a calm self-assured artistry. This is not just wonderful music; it is sheer poetry. As Murray Perahia writes in his touching essay in the CD insert, Horowitz felt that what made a composer truly classical was "an intensity and purity of expression where every note matters, every note has meaning." One certainly hears and feels that intensity and purity on this CD.

There is also a noticeable improvement in sound quality on this CD, that was recorded digitally, in comparison to earlier Horowitz recordings I have heard from the analog era. How fortunate we should all feel that he lived into the digital era and was still playing at such a sublime level into his final years, so that he could leave us this musical legacy. My personal favorite on this CD is track 6, the "Fantaisie-Impromptu, Op. 66 of Chopin, which is played with dazzling scintillating brilliance and, at the same time, superb control, subtlety, and deep emotion. However, a close second for me is the tenth track, Liszt's "Weinen, Klagen, Sorgen, Zagen" a Prelude based on a theme from Bach's Cantata No. 12. Horowitz's performance of this composition is achingly beautiful. The CD booklet has an excellent essay by Murray Perahia in English, with German, French and Italian translations. A wonderful CD and fitting memorial to one of the greatest pianists of the twentieth century.

Some Enchanted Evening ..........2004-01-28

I make the case that Chopin is the father of modern music in my review of Horowitz's "The Last Romantic" ..... and this CD provides more evidence ..... think of the extraordinarily haunting melody and chords of "Some Enchanted Evening" ..... this song was lifted directly from Chopin's Etude 1 No. 25 and you can hear it on this disc.... beautifully played by Chopin's greatest interpreter (in my opinion). The disc also includes "Fanatasie Impromptu" ... one of the tunes that opened the ears of this pop and jazz fan to 'classical' or 'romantic' music.

Last, but Not Least.......2003-04-27

Vladimir Horowitz had just celebrated his 86th birthday when sessions for this recording began in October of 1989. He had recently been lured to Sony Classical by their new director, Gunther Breest, who had signed Horowitz on at Deutsche Grammphon in 1985. One advantage that Sony carried, besides a bigger paycheck, was the latest technology. This recording utilized Sony's then new 20-bit technology, which resulted in a more defined sound picture for this most subtle of pianists.

The contents of this CD were all new to the Horowitz discography. By the late 1980s, Horowitz had refined and stripped down his art to the essentials. There are none of the histrionics of his early recordings, nor any of the attempts to prove to the listener that he could still play the fastest and the loudest which marred some of his recordings from the 1970s.

Horowitz was stimulated by Haydn's diverse pianistic textures and whimsical changes of mood. The first movement, a bouncy Allegro, is a perfect demonstration the "controlled freedom" of Horowitz's late period. While following the same basic pulse, Horowitz introduces tiny alterations of tempo which keeps the music flowing coherently, without sounding metronomic. The rapidly ascending scale passages here are played with a dazzling evenness of touch. The slow movement, a true cantabile, is phrased as though it were being sung rather than played. The minor key outburst is, for a rarity, truly shocking. The Finale is played with a gentle virtuosity which never goes beyond the bounds of appropriate Haydn style.

Horowitz recorded more of Chopin's music than that of any other composer. He was justly famous for his performances of Chopin's Mazurkas, which seamlessly blended the dance and poetic elements. The performance of the C minor Mazurka here makes one regret he didn't record many more.

Horowitz was fanatically passionate about Ignaz Friedman's performances of the Nocturnes, but recorded surprisingly few himself. Many of his earlier recordings of the Nocturnes were played on too large a scale, with a prevalent note of hysteria. The two Nocturnes presented here are another story indeed. There is a rare sense of repose, at times an almost deathly calm, about these performances. There is also Horowitz's rare ability to weight the various elements of melody, harmony, and accompaniment, down to the smallest micron. Horowitz' floating of the top, middle, and lower lines, interweaving them effortlessly, is in many ways more stunning than any kind of thundering virtuosity.

But if it's the more obvious kind of virtuosity you want, it is amply demonstrated in the Fantasie-Impromptu. Played at an extremely fast tempo, Horowitz demonstrates here that fidelity and freedom with regard to the score can coexist. He is one of the few pianists who bothers to repeat the first phrase as a quieter echo of the forte statement--as indicated in the score. He also preserves the structure of the piece by maintaining the initial tempo in the central section rather than slowing down to chase rainbows--and he adds some tiny embellishments along the way.

Horowitz is technically and musically on top of the A-flat Etude, but the E Minor Etude suffers from an overstressed ending.

Horowitz was very selective about which Liszt he chose to preserve on recordings. For this recording, he chose the rarely played Prelude from Weinen, Klagen, Sorgen, Zagen, a desolate reworking of a theme from J. S. Bach's Cantata No. 12. Horowitz masterfully alters the mood for each variation, while maintaining the inner continuity of the piece.

Naturally, the Wagner/Liszt Liebestod (literally, "Love/Death") would have extramusical implications due to the circumstances of the recording. It is true, Horowitz plays the aria as if he knew this would be his swansong, giving the performance all the eroticism, lyricism, and thundering virtuosity he could muster, for the last time. He died on Sunday, November 5th, four days after the Liebestod was taped.

Tracks:

Organ Toccata, Adagio And Fugue In C Major, BWV 564 I. - J.S. Bach
Organ Toccata, Adagio And Fugue In C Major, BWV 564 II. - J.S. Bach
Organ Toccata, Adagio And Fugue In C Major, BWV 564 III. - J.S. Bach
Fantasy In C Major, Op.17 (I)
Fantasy In C Major, Op.17 (II)
Fantasy In C Major, Op.17 (III)
Piano Sonata No. 9 In F Major, Op. 68 'Black Mass' - Scriabin
Poeme In F-Sharp Major, Op. 32, No. 1 - Scriabin

Tracks:

Mazurka In C-Sharp Minor, Op. 30, No.4 - Chopin
Etude No. 8 In F Major, Op. 10 - Chopin
Ballade in G Minor, Op. 23, No.1 - Chopin
Serenade For The Doll No.3 - DeBussy
Etude In C-Sharp Minor, Op.2, No.1 - Scriabin
Etude No. 11 In A-Flat Major, Op.72 - Moszkowski
Traumerei
Kinderszenen, Op. 15 (1)
Kinderszenen, Op. 15 (2)
Kinderszenen, Op. 15 (3)
Kinderszenen, Op. 15 (4)
Kinderszenen, Op. 15 (5)
Kinderszenen, Op. 15 (6)
Kinderszenen, Op. 15 (7)
Kinderszenen, Op. 15 (8)
Kinderszenen, Op. 15 (9)
Kinderszenen, Op. 15 (10)
Kinderszenen, Op. 15 (11)
Kinderszenen, Op. 15 (12)
Kinderszenen, Op. 15 (13)

Customer Reviews:

A historical legacy!.......2006-03-28

Despite I am not a Horowitz admirer, it 's worthy to underline and emphasize the colossal pianism and thunderous fingering around every one of its different performances.

The special distinction around this album is the fresh inspiration and notable musicality emanated in this Recital, that deserves to be catalogued as a cult recording among the impressive and even excellent live recordings in the Sixties.

A bravura performance and a genuine expression make of this album a very special recommendation.

Masterpieces played by the great Horowitz.......2004-12-12

This Carnegie Hall return recital is one of the greatest recordings by Horowitz. With a huge audience, Horowitz did not disappoint. He plays the Bach/Busoni as only he can play; it is eternally beautiful. Schumann has some mistakes, but those mistakes make the playing even more fascinating. The Scriabin is also excellent.

I am confident in saying that Horowitz's mazurka here is the best recording of op. 30 no. 4. Horowitz takes his time and does not rush the tempo, which is soooo easy to do with this piece. The etude is played awesomely, but the real treat is the Ballade no. 1. Horowitz played this piece all his life and played it very different many times, but this ballade is the best, most musical he ever played, mistakes and all.

The encores are also a treat, and the complete Kinderszenen bonus is another reason to buy this cd. The bonus dvd contains Liszt's Au Bord D'une Source, Chopin's Black key etude, and Moszkowski's etude in f major, op. 72, no.6.

This cd is my favorite, and I have a lot...

Insert Here Any Superlative You Can Think Of.......2004-06-10

For those of you who don't enjoy reading long drawn-out reviews: This is the best CD set I could possibly imagine buying before I bought it. After I bought it, I wept twice in the first listening of just the second disc. The Chopin recordings on this disc are simply legendary, definitive, and indescribably beautiful.

Horowitz out-did even himself at this concert. Sure, wow, wrong notes, even in the first couple measures. Who cares. You had better not. I noticed two exposed wrong notes in my first listen of this disc. It is by far the best CD set I own.

Toccata, Adagio and Fugue in C Major: Sure, wrong note. Grand. I'm not too large a fan of this piece, but, regardless, if you like Bach, you like Horowitz for this recording.

Fantasy in C Major: True to its title, this performance was indeed fantastic. Horowitz is acclaimed most for his different tones on the piano. Let me tell you, that is for a reason.

Scriaban: I, personally, do not like Scriaban. An acquired taste. If you do like him, however, you will by all means enjoy these two recordings of the Black Mass Sonata and the Poeme in F-sharp Major.

The Chopin: The Mazurka is the greatest mazurka recording I have ever heard, period. The Etude is technically flawless and musically flawless. The Ballade. One of my favorite pieces of all time. This is my favorite recording, simply. It is quite, quite unbelievable. I wept. Every theme Chopin includes, Horowitz includes with care. This piece is one that takes a long long long time to figure out. Musically, it is one of the hardest. Horowitz seems to finally understand it after having played it for almost forty years undoubtedly. I have heard roughly 10 or 12 recordings of this piece, and Horowitz's trumps all.

The encores: Debussy, Scriaban, Moszkowski are all wonderful in their own right, but Traumerei is practically Horowitz's child. People in the audience were weeping when they heard this piece. I went in with the intention of not weeping, and failed miserably. It is the singly most beautiful performance I have ever heard.

Buy this set. You will absolutely not regret it.

WHAT IS GOING ON?.......2003-12-27

WHAT IS WRONG WITH YOU PEOPLE? WHY CANT YOU JUST LEAVE THE POOR MAN ALONE? I AM A PIANO STUDENT WHO JUST FINISHED A CONCERT SERIES OUTSIDE OF MY OWN COUNTRY AND I HAVE JUST READ SOME OF THE OTHER REIEWS ABOUT HOROWITZ HERE AND I AM FRANKLY DIGUSTED.
ARE WRONG NOTES ALL YOU PEOPLE LISTEN TO?
HOROWITZ WAS BRILLIANT, YES, BUT HE WAS ALSO HUMAN LIKE ALL OF US. I MAKE MY FAIR SHARE OF WRONG NOTES AND WOULD HATE TO THINK THAT THEY WOULD BE THE ONLY THING THAT AN AUDIENCE WOULD REMEMBER AFTER A CONCERT. WRONG NOTES ARE A PART OF LIFE AND SOMETIMES ITS MORE IMPORTANT TO TAKE RISKS, EVEN IF IT RESULTS IN FAILIURE. ITS WHAT BREATHES LIFE INTO A PERSONS PLAYING, KNOWING THAT ONE SPLIT NOTE OR TWO IS NOT THE END OF THE WORLD. GIVEN THE CHOICE BETWEEN BEING MORE MUSICAL OR MORE TECHNICAL, I WOULD RATHER BE A MUSICIAN AND NOT A ROBOT.
IN HOROWITZ'S PLAYING, THERE ARE MORE IMPORTANT THINGS TO LISTEN TO. SO NEXT TIME YOU SWITCH ON ONE OF HIS RECORDINGS, WHY NOT TRY TO FORGET EVERYTHING YOU HAVE HAD BRAINWASHED INTO YOU ABOUT PERFECTION AND JUST LISTEN WITH YOUR HEART INSTEAD OF YOUR HEAD.

HOROWITZ WOULD HAVE BEEN THE FIRST PERSON TO TELL YOU THAT A PERFECT TECHNIQUE IS A COMPLETE MYTH. EVERYONE MAKES MISTAKES, WE CANT BE PERFECT FOR YOU ALL THE TIME, SO JUST GIVE US A BREAK.

Just the Facts..........2003-11-29

This is not a review per se. My review is elsewhere on this page. But I wanted to follow-up and correct a few errors, which have been circulated in regard to this recording.

First, the corrections used on the original version of Horowitz at Carnegie Hall were not made at a "patch session at Carnegie a few days" after the concert. Columbia's engineers had already recorded Horowitz's rehearsals and used that material for the editing.

Second, the editing in the album was neither as extensive as some have suggested, nor as insignificant as the anonymous reviewer from Baltimore states.

Here is a (mostly) complete list of the patches on the original album, which have been removed from this new edition:

Bach-Busoni: Preludio: Measures 2-12 and parts of the coda (Horowitz, by the way, does not play the ossias at bars 8, 10, and 12); Intermezzo: Small patches at bars 7 and 11; Fugue: Several edits between bars 97 and 110, and again in the coda.

Schumann Fantasy: 1st Movement: patches at 7:32 and 10:21; 2nd Movement: small patches at 2:44 and 4:32, and a series of patches in the coda 6:58-7:39; 3rd Movement: No edits.

Scriabin: Sonata No 9: No Edits. Poem in F-sharp: Patch from 2:16-2:26

Chopin: Mazurka: Small edit at 2:02; Etude: Patched sections from 1:27-1:33 and 2:15-2:20; Ballade: Small edits at 2:04 and 4:52, at least four patches in the coda.

None of the encores were edited.

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.

Average customer rating:

Volodos
Warning: Saddening waste of technical gifts
superlatives fail
Mind-shatteringly superb
S-P-E-C-T-A-C-U-L-A-R

Piano Transcriptions / Arcadi Volodos
Arcadi Volodos , Vladimir Horowitz , Sergey Rachmaninov , Franz Liszt , Nikolay Andreyevich Rimsky-Korsakov , Sergey Prokofiev , Pyotr Il'yich Tchaikovsky , Johann Sebastian Bach , and Wolfgang Amadeus Mozart
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

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Volodos Plays Liszt

ASIN: B0000029T8
Release Date: 1997-07-01

Tracks:

Carmen Variations
Utro
Melodiya (Melody)
Hungarian Rhapsody No. 2
Litanei (Litany)
Aufenthalt (Resting Place)
Liebesbotschaft (Love Message)
Flight Of The Bumblebee
Cinderella: Gavotte, Op. 95 No. 2
Orientale, Op. 97 No. 6
Valse, Op. 102 No. 1
Scherzo (Symphony No. 6)
Largo (Trio Sonata No. 5 BWV 529)
Turkish March

Amazon.com

Face it, anyone who can play Horowitz's fabled transcriptions or Cziffra's madcap interlocking octaves Flight of the Bumblebee will get attention. What is most impressive, though, is that Arcadi Volodos replicates the notes, but not the performances. His tempos and voicings are completely different, and just as valid, if not quite as coruscating as the originals. In other words, Volodos makes this repertoire his own, as well as the other selections on this well-recorded debut outing. --Jed Distler

Customer Reviews:

Volodos.......2007-06-08

The piano transcriptions are fantastic.
Volodos proves that he's a real genious and one of the best in the world today.

Warning: Saddening waste of technical gifts .......2007-02-06

I do not want to take away the pleasure of the many reviewers who have found this item a thrilling enjoyment. Only I want to issue a warning to all lovers of the art of the piano: Do not buy this album in the hope of hearing a worthy successor to such past Russian titans as Richter and Gilels! Volodos is easily their master in terms of blistering dexterity, power of attack and distinct arpeggios. Yet, in all other respects he is dwarfed by comparison. His playing, all in all, is egocentric, crude in terms of its conventionality of expression and bereft of the humour that might have made his incredibly overloaded arrangements truly delightful. Now, they are at most decent circus acts, leaving one to wonder how one man with only two hands can plays this fast and how that very same man can take such a hamfisted approach to his slap-stick repertoire.

With an orchestra Volodos most often plays as if he cannot hear the other musicians through the noise he is making. On his own he fares slightly better. Still, he seems to be more in the service of technical boasting than musical expression. To take two examples:

1. His "Bumblebee" clocks in at a mindboggling 1.36 sharp. That's about all that recommends it. In musical terms, the performance is absurd: This witty piece is meant to portray an amiably buzzing furball, NOT an angry wasp on steroids.

2. Many performers have been tempted to beef up Mozart's somewhat monotone K331 "Turkish March". Volodos' paraphrase goes over the top with nifty counterpoint coupled with all sorts of tricks from the virtuoso shelf. This could have been a true delight if the performer had only loosened up a little and offered the occasional comic relief that such an encore so obviosuly calls for. Here Volodos simply seems oblivious to the inherent potential for musical expression. On a repeated listening the performance tires by its utter conventionality of phrasing.

Praised be the day when Volodos opens up his ears to the music he is performing. Then we might hope for new reference recordings of various works in the superdifficult division. Until then we may only grieve that such supernatural technique is going to waste in sideshow idleness. If you crave for a contemporary Russian virtuoso, try out Nikolai Lugansky, even if his somewhat austere taste in the romantic repertoire might deter some fans of Horowitz et al. Lugansky is in supernatural technical command if the keyboard, yet never leaves you in doubt that you are listening to a true musician.

superlatives fail.......2006-10-22

Volodos is simply one of the greatest pianists I have ever heard. The transcriptions on this CD are well worth your investment. I was fortunate to hear Volodos at Lincoln Center play the finger-bending Prokofiev 2nd piano concerto. I am a professionally trained pianist, and I have simply never heard a performance to equal it. I was convinced two or more people were playing. The emotional power was overwhelming. I wish he would record it. And the complete Transcendantal Etudes.

Mind-shatteringly superb.......2006-08-08

Volodos strikes us with some incredible works here, friends. These are quite simply some of the most perfectly executed works upon the piano I have heard, and this is no light affair considering the depression-inducing difficulty of some of these behemoths of the piano (Horowitz transcription of the Hungarian Rhapsody sounds like it requires a virtuoso of the highest order to play well.) We're dealing with a pianistic genius who I'm sure will continue to astound us in the future. And what, he began studying at the age of sixteen!? I want him to record all the Transcendental Etudes, but who knows if that will ever occur. Check out his Rachmaninoff concerto as well, it's about as close to perfect as it gets.

Unbelievable.

S-P-E-C-T-A-C-U-L-A-R.......2006-03-05

Ladies and Gentlemen, what we have here is quite possibly the greatest piano virtuoso alive today. While the musicality and emotion the artist puts in his work are exeptional, but not without precedence, his virtuosity, technique and rapidity of execution are quite simply...GOD-GIVEN. Period. End of statement.

Complete Recordings on Deutsche Grammophon

Average customer rating:

MUST HAVE THIS IN YOUR COLLECTION OF HOROWITZ
Horowitz: A Digital Legacy

Complete Recordings on Deutsche Grammophon

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

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Release Date: 2003-10-14

Customer Reviews:

MUST HAVE THIS IN YOUR COLLECTION OF HOROWITZ.......2007-07-13

If you have any Horowitz music in your collection. THEN YOU MUST GET THE COMPLETE RECORDINGS ON DEUTSCHE GRAMMOPHON. Quality of recording is superb.

Horowitz: A Digital Legacy.......2004-11-15

This set includes all of the recordings Vladimir Horowitz did for Deutsche Grammophon in the 1980s, including his historical concert in Moscow.

While the context of his return in Moscow is moving, the studio recordings are simply wonderful. The sound quality is impeccable. The Steinway piano sounds warm but yet crisp and sharp. Horowitz still has plenty of power, and if you don't have a good sound system, you will notice that your speakers will literally fail, due to the overwhelming wall of sound that Horowitz creates in the intense parts.

The tender moments are just as exciting, as they are enhanced by the very quiet and clear digital recording process. Liszt's Standchen and Mozart's Piano Concerto No 23 are only two of a myriad of highlights contained on this boxed set. Having these high quality digital recordings of this piano legend is a blessing that you can't afford to miss. And at this price, it's simply irresistible.

Tracks:

Heroic: Heroic - Polonaise in A-Flat Major, Op. 53
Mazurka In D Major, Op. 33, No. 2
Waltz In C-sharp Minor, Op. 64, No. 2
Military: Military - Polonaise in A Major, Op. 40, No. 1
Etude In E Major, Op. 10, No. 4
Etude In C-Sharp Minor, Op. 10, No. 4
Raindrop: Raindrop - Prelude In B Minor, Op.28, No.6
Black Key: Black Key - Etude in G-Flat Major, Op. 10, No.5
Ballade: Ballade No. 1 In G Minor, Op. 23
Waltz In A Minor, Op. 34, No. 2
Mazurka In A Minor, Op. 17, No. 4
Revolutionary: Revolutionary - Etude in C Minor, Op.10, No. 12
Nocturne In F Minor, Op. 55, No. 1
Mazurka In F-Sharp Minor, Op. 55, No. 1
Mazurka In D-Flat, Op. 30, No. 3
Mazurka In F Minor, Op. 7, No.3
Mazurka In E Minor, Op. 41, No. 2
Scherzo No. 1 in B Minor, Op. 20

Customer Reviews:

Perfect.......2007-07-02

I have all (that I know of) Horowitz' Chopin CDs. They are wonderful. Caution. There are live recordings mixed in with the studio, so be prepared for audience participation on some pieces. I used to think Rubinstein was the ultimate Chopin player. They're both superlative, but I prefer the crisp, clean, distinct sound of Horowitz now. I love Horowitz anyway. On an NPR program some years ago, a female music expert was played Chopin, once by Rubinstein and once by Horowitz and told to guess which was which. She guessed wrong, I was right. She went into rhapsodies over the Horowitz and thought it was Rubinstein. She was also played a fragment of something or other by Beethoven and asked to identify the composer. She didn't, I did. There for all the critics of my "reviews" who blatantly called me a musical ignoramus because I don't like Wagner, Sondheim or the operas of Mozart (except a few of the beer hall tunes out of Don Giovanni)! The Horowitz Chopins (all the collections) are wonderful, and all have technical drawbacks as recordings. The fact that there are so many badly recorded live recordings mixed in with the studio ones. Still worth the money.

Great Performances, Shoddy Remastering.......2006-09-15

It should be noted that the recordings on this CD (originally issued in the 1980s) have been reissued with better remastering than this AAD, rather tinny sounding version. Search under Sony's complete Horowitz edition and you'll find the later versions.

Slam, bang -Ta daaah!.......2006-07-08

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.

Good Only if You Like Horowitz's Style.......2005-03-06

I love Chopin, but I have discovered that I don't like Horowitz. I find his style choppy and abrupt, which is not how I grew up listening to Chopin. Also, I found the recording quality medicore although it is on CD, so the age of the recording shows.

My guess is that if you know you already like Horowitz, then this CD is probably for you. But if you are not sure or haven't an opinon to try someone else.

Great Chopin from Horowitz.......2003-09-07

Horowitz was one of the greatest interpreters of the mazurkas and polonaises. He is at home with Chopin in these pieces. And on this record they are plays better than any I have heard. The Scherzo no. 1 is my favorite recording of this work, and I have owned and heard many. No one plays this piece with the fire and as feverishly as Horowitz. The rest of the cd is beautifully played although not as memorable as the others.

Average customer rating:

Possibly the best classical piano CD ever!
Horowitz....
Horowitz, the genius.
Horowitz - 5+ Stars, Recording - 3 stars
Fine Late Period Horowitz

Horowitz At Home

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Rondos | Forms & Genres | Classical | Styles | Music

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ASIN: B000001GBF
Release Date: 1989-07-20

Tracks:

Piano Sonata iIn B Flat Major, K. 281 (189f): Allegro
Piano Sonata iIn B Flat Major, K. 281 (189f): Andante amoroso
Piano Sonata iIn B Flat Major, K. 281 (189f): Rondeau: Allegro
Adagio In B Minor K.540
Rondo In D Major K.485: Allegro
Moment Musical In F Minor, D780 No.3 (Op. 94 No.3): Allegretto moderato - Schubert
Standchen From 'Schwanengesang': Mabig - Liszt
Soirees de Vienne: Valse-caprice No. 7 - Allegro spiritoso - Vladimir Horowitz
Soirees de Vienne: Valse-caprice No.6 - Allego con spirito - Vladimir Horowitz

Customer Reviews:

Possibly the best classical piano CD ever!.......2007-06-06

I have listened to many classical CDs -piano is my favourite -and this is my favourite CD. I have actually sat with my family and listened to Misuko Uchida's recording of one of the Mozart sonatas (I think the K540 adagio) against Volodya's and there is no comparison. If you only buy one classical piano CD buy this!

Horowitz...........2005-11-20

Are the acoustics here crappy? yes
Does Horowitz hit some wrong notes? yes
You cannot cast judgement on Horowitz playing based on this CD. He is THE pianist of the 20th century. Before some anonymous posters opine that he is incompetent they have to understand what the classical music community thinks. Not for nothing when Horowitz returned to Moscow all of the conservatories came to a halt and students physically fought to be able to listen to him. Keep in mind that Russia/Soviet Union in the 20 century was the epicenter of the piano community. Yes some of his recordings are better than others. He was more technically proficient in his earlier years. Horowitz is one of the only pianists who is not exclusively melody oriented but rather brings out the inner melodies in the other hand and voices. Horowitz is amazing.

One would think that after hundreds of years of keyboard playing the art of innovation would hit the wall of diminishing returns but Horowitz is an antidote to that. I am generally concerned though that Horowitz reached a height that might not be met by subsequent pianists.

Horowitz, the genius........2001-12-02

Absolutely outstanding. The man was a genius!

Horowitz - 5+ Stars, Recording - 3 stars.......2001-08-15

Horowitz at his relaxed finest. His lifetime achievement is clear in the mastery of his instrument and art in his music. Every note carries with it the absolute assuredness of the better part of a century of virtuosity. The Soirees de Vienne alone make this disk a must for piano collections. Too bad DG did their usual mediocre recording job...the piano is muffled and the engineer almost loses the soft passages altogether.

Fine Late Period Horowitz.......2000-03-30

Toward the end of his career, Vladimir Horowitz had distilled his art to the bare essentials. Gone were the leonine fortissimos and occasional hysteria of the 1940s, replaced with a new simplicity. This recording, taped in the living room of his New York townhouse in 1989, is an excellent example of Horowitz' late period. The Mozart selections recall the fabled clarity of his Scarlatti playing. Horowitz, 85 at the time of this recording, may not thunder as powerfully as he did during his youth, but he is as in command of his fingers than ever. Although Horowitz has been referred to as a Romantic pianist, his performance of Mozart's Adagio in b minor is classical in its' simplicity.

The Schubert/Liszt Standchen is be one of the greatest piano recordings ever made. Horowitz' control of dynamics and shading make it sound as if the piece was being played on three pianos at once. The two Soirees de Vienne are a virtuosic delight, and the perfect conclusion to a wonderful recording.

Tracks:

Allegro Ma Non Tanto
Intermezzo: Adagio
Finale: Alla Breve
Allegro Agitato
Non Allegro, Lento
L'Istesso Temp, Allegro Molto

Customer Reviews:

great Rach 3.......2007-03-24

It took a while to come, but it came from Germany. I had an old cassette of this performance (copied from WQXR radio).

A reactionary recording.......2006-06-05

Horowitz, like anyone with a great musical mind, was a keen observer of performance trends. Though he had long periods where he withdrew from the concert stage, he always kept listening to music. He was a record collector and listened frequently to other pianists performances. He must have become somewhat disheartened at the many recordings that were produced throughout the sixties and seventies. With the ability to edit and re-edit, most performances became plain vanilla offerings, devoid of any original spark or personality. Sadly, in my opinion this trend continues to the present day.

Horowitz was always able to infuse anything he played with his larger than life personality. However, I feel that during the late seventies and early eighties he was consumed with the idea that he was "the last romantic". In earlier performances, he always infused his interpretations with interesting nuances and twists of a phrase. However, when this particular recording was produced these nuances and twists became all important. His playing became so distorted and exagerated that the music doesn't speak for itself any longer. This performance is a giant ego trip for the pianist as Ormandy tries his best to stay out of the way. I agree with many of the other reviewers here; the Horowitz/Reiner performance of the 50's is a far, far better performance and in fact sounds the most mature of any of his Rach. 3's. I also love the youthful exuberance of the Horowitz/Coates recording.

His worst Rach 3 on record.......2005-08-31

People who say this is THE BEST Rachmaninoff 3 (seems like every Rachmaninoff 3 is the best Rachmaninoff 3) probably have heard very few others. And no, it's not true that Rachy himself stopped playing the concerto after hearing VH play it in 1928. Rachmaninoff had a long and successful solo career that included many performances of this work through the 1930s and 40s...this can easily be looked up. In fact, he tired of playing it, but the public and his agents pretty much forced it on him. His own recording, made in 1939, is superb, though Horowitz's first, made in 1930 with Coates and the LSO (EMI, sadly out of print) is far better--one of the very best, in fact.

This recording, however, is acoustically harsh and brittle, fast, unfelt, and nervous. Ormandy leads a New York Philharmonic that is really not interested in responding at all (they can frequently be this way to guest conductors). With so many recordings crowding the field, I can't understand why this one is still around, except that perhaps many people are "sucked in" by the "event" surrounding the performance. But such event performances and recordings are often disappointing. (Bernstein at "The Wall," Richter's 1st Carnegie Hall performance, Argerich, Maisky and Kremer doing the DSCH E minor trio.) And, unlike some here, I refuse to give this CD brownie points because it is a recording of an "event." Let the playing determine the event, not the hype.

For some thrilling modern performances of the concerto, try Lazar Berman/Bernstein/NYPO, 1958, or Pletnev/Rostropovich/Russian Nat'l Orchestra on DG. For the best historic performance, it's Horowitz/Coates/1930. Rachmaninoff's own performance, a shade below the Horowitz of 1930, is also indespensible. This recording, alas, is not.

Not the icon that it seems.......2005-05-30

It would be too cruel to say that this disc can only be enjoyed by those with poor taste. I don't want to disparage those listeners who find that they like this recording, which features two of the most celebrated performers of Rachmaninoff - pianist Vladimir Horowitz and conductor Eugene Ormandy, both of whom knew the composer intimately and collaborated with him. The first time I listened to this CD as a young musician in search of inspiration, I was impressed, too. Subjectively, the old maestros Horowitz and Ormandy can have quite an impact. And as other reviewers have said, it is certainly more pleasant to listen to than the very shoddy original record released 3 weeks after the performance.

Objectively, though, and by the standards of piano playing today, this recording ranks among the worst ever made. The problems are numerous and overpowering, and they compound upon one another to produce a vile concoction. Even the sympathetic David Dubal, a good friend of Horowitz's and the editor of Remembering Horowitz: 125 Pianists Recall a Legend, wrote that this performance was "marked by excess and self-absorbed melancholy." Some of these problems are: a crass, harsh pianistic tone that sounds like the hammers were filed to a point to sound as percussive as possible; a dire lack of either forward drive or convincing languor; only the most tenuous of connections between pianist and conductor; and wrong notes all over the place.

The severe lapse in quality, compared with his great recordings from the '30s and '50s, is characteristic of his work from the late '70s. Horowitz was always temperamental; at the height of his fame in the '50s,