The Magic of Horowitz
Deutsche Grammophon: DG 474 334-2
CD 1
Franz Liszt
1. Soirée de Vienne No.6 (after F. Schubert)
- February 18 & March 4 & 6, 1986 (studio)Franz Schubert / Franz Liszt
2. Ständchen (Serenade, from Schwanengesang)
- February 14 & March 6, 1986 (studio)Franz Liszt
3. Valse Oubliée No.1
- September 30 & October 3, 1985 (studio)Frédéric Chopin
4. Mazurka in A minor, Op.17 No.4
- April 21 & 28, 1985 (studio)Alexander Scriabin
5. Etude in D-sharp minor, Op.8 No.12
- September 20, 25 & 30, 1985 (studio)
6. Etude in C-sharp minor, Op.2 No.1
- April 23, 28 & 30, 1985 (studio)Franz Schubert
7. Impromptu in B-flat major, Op.142 No.3 / D.935 No.3
- September 16, 18, 20, 25 & October 9, 1985 (studio)Franz Schubert / Carl Tausig / Vladimir Horowitz
8. Marche Militaire in D-flat major, Op.51 No.1 / D.733 No.1
- September 23, 25 30, October 3 & 9, 1985 (studio)Domenico Scarlatti
9. Sonata in E major, K.135 (L.224)
- September 12 & 16, 1985 (studio)Johann Sebastian Bach / Ferruccio Busoni
10. Nun komm' der Heiden Heiland, BWV 659 (Chorale Prelude)
- April 19 & 28, 1985 (studio)Sergei Rachmaninoff
11. Prelude in G major, Op.32 No.5
- April 18, 1986 (live)
12. Prelude in G-sharp minor, Op.32 No.12
- April 20, 1986 (live)Franz Liszt
13. Sonetto 104 del Petrarca (Années de Pèlerinage, Book II (Italy) No.5)
- April 20, 1986 (live)Frédéric Chopin
14. Mazurka in C-sharp minor, Op.30 No.4
- April 20, 1986 (live)Robert Schumann
15. Träumerei, Op.15 No.7
- April 20, 1986 (live)Sergei Rachmaninoff
16. Polka de W.R.
- April 18, 1986 (live)
CD 2
Wolfgang Amadeus Mozart
1-3. Piano Concerto No.23 in A major, K.488
- Carlo Maria Giulini / La Scala Theatre Orchestra
- March 1987 (studio)Robert Schumann
4-11. Kreisleriana, Op.16
- September 12, 16, 18, 23 & October 3 & 9, 1985 (studio)Wolfgang Amadeus Mozart
12. Studio talk about Mozart's A minor Rondo
13. Rondo in A minor, K.511
- June 24, 1988 & January 16, 1989 (studio)Franz Liszt / Vladimir Horowitz
14. Ehemals (from the Weinachtsbaum Suite)
- June 24, 1988 (studio)Franz Schubert
15. Moment Musical in F minor, Op.94 No.3
- June 21, 1987 (live)
Bonus DVD
Video from the rehearsals for the
studio recording of Mozart's A major Piano Concerto with Giulini & the La
Scala Theatre Orchestra
- March
1987 (studio)
The Magic of Horowitz
The Magic of Horowitz is a selection of his previously released recordings from Vladimir Horowitz's years with Deutsche Grammophon, 1985-1989, supplemented with a few new items.
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 earlier years, replaced with a new simplicity and directness. Without the pressure to prove that he could still play with the flabbergasting virtuosity of his 40s, the true Horowitz was finally revealed.
Horowitz was increasingly drawn to Schubert and Mozart in his last years. The Schubert/Liszt Ständchen is one of the greatest piano recordings ever made. Horowitz's control of dynamics and shading make it sound as if the piece was being played by three hands at once. The Soirees de Vienne No. 6 (a piece Horowitz so loved that he played it at every one of his post-1985 concerts) is a virtuosic delight.
The Schubert Impromptu is played with more flexibility than we would here from such modern interpreters 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.
The Scriabin Etudes are the central romantic pivot in this recital. Horowitz plays the famous D-sharp Minor differently here than in earlier recordings, beginning quietly and building to a stunning climax.
Horowitz studied Mozart's K. 488 Concerto in the 1930s with his father in law, Arturo Toscanini--and there is something of the legendary Italian's musicality in this performance. Tempos are brisk without being rushed; phrasing is business-like while remaining flexible. Perhaps this is why Horowitz chose another Italian, Carlo Maria Giulini as conductor in this concerto. Frankly, this is very much Horowitz's recording--the piano is very predominant in the concerto. That is just fine with me, because the small orchestra is non-descript and leaves something to be desired tonally. The sound in the Concerto is synthetic and dry.
There are actually two performances of the Concerto on this set. The commercial recording is supplemented by a DVD documentary of one of the sessions. There are a few minor mistakes which were patched in the final recording, but the performance is mostly along the same lines. In the video one can see that Horowitz enjoyed himself thoroughly during the taping, chatting delightedly with reporters and even flirting with his page turner.
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."
Thomas Frost, Horowitz's longtime producer, has unearthed a few new items from the vault, which will delight Horowitz's many admirers. Chief among these is Mozart's A Minor Rondo, given a surprisingly Classically oriented performance by this most Romantic of pianists. Horowitz knew something which many contemporary pianists ignore: Mozart intended all of his Rondos--regardless of time signature--to be played with two beats per bar in tempo and accentuation. This is one performance which truly dances (a Rondo is a type of dance) and sings--without downplaying the tragic nature of the piece. The performance is preceeded by some studio chatter in which Horowitz demonstrates his intimate knowledge of the score (he points out critical differences in some printed editions) and pokes fun at the way some pianists drag through this piece.
Also included is Horowitz's arrangement of Ehemals from Lisz't Weihnachtsbaum, a rarely heard impressionistic piece, in which the pianist demonstrated his uncanny pianissimo.
Finally, there is Schubert's popular Moment Musical No. 3, which was given as an encore at Horowitz's final public recital, in Hamburg in 1987. It is a fitting farewell.
No doubt many Horowitz fans will purchase this set despite the duplications in performances. Newcomers to Horowitz would be hard pressed to find a better introduction to Horowitz's art.
© Hank Drake
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Copyright © 2003 Christian Johansson