Horowitz At Home
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Composer or Director: Wolfgang Amadeus Mozart, Franz Liszt, Franz Schubert
Label: DG
Magazine Review Date: 11/1989
Media Format: CD or Download
Media Runtime: 54
Mastering:
DDD
Catalogue Number: 427 772-2GH
Tracks:
| Composition | Artist Credit |
|---|---|
| Sonata for Piano No. 3 |
Wolfgang Amadeus Mozart, Composer
Vladimir Horowitz, Piano Wolfgang Amadeus Mozart, Composer |
| (6) Moments musicaux, Movement: No. 3 in F minor |
Franz Schubert, Composer
Franz Schubert, Composer Vladimir Horowitz, Piano |
| Schwanengesang (Schubert), Movement: No. 7, Ständchen, 'Leise flehen' (2nd version) |
Franz Liszt, Composer
Franz Liszt, Composer Vladimir Horowitz, Piano |
| Soirées de Vienne: 9 Valses caprices d'après Schubert, Movement: No. 7 in A |
Franz Liszt, Composer
Franz Liszt, Composer Vladimir Horowitz, Piano |
| Soirées de Vienne: 9 Valses caprices d'après Schubert, Movement: No. 8 in D |
Franz Liszt, Composer
Franz Liszt, Composer Vladimir Horowitz, Piano |
Composer or Director: Wolfgang Amadeus Mozart, Franz Liszt, Franz Schubert
Label: DG
Magazine Review Date: 11/1989
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: 427 772-4GH
Tracks:
| Composition | Artist Credit |
|---|---|
| Sonata for Piano No. 3 |
Wolfgang Amadeus Mozart, Composer
Vladimir Horowitz, Piano Wolfgang Amadeus Mozart, Composer |
| (6) Moments musicaux, Movement: No. 3 in F minor |
Franz Schubert, Composer
Franz Schubert, Composer Vladimir Horowitz, Piano |
| Schwanengesang (Schubert), Movement: No. 7, Ständchen, 'Leise flehen' (2nd version) |
Franz Liszt, Composer
Franz Liszt, Composer Vladimir Horowitz, Piano |
| Soirées de Vienne: 9 Valses caprices d'après Schubert, Movement: No. 7 in A |
Franz Liszt, Composer
Franz Liszt, Composer Vladimir Horowitz, Piano |
| Soirées de Vienne: 9 Valses caprices d'après Schubert, Movement: No. 8 in D |
Franz Liszt, Composer
Franz Liszt, Composer Vladimir Horowitz, Piano |
Composer or Director: Wolfgang Amadeus Mozart, Franz Liszt, Franz Schubert
Label: DG
Magazine Review Date: 11/1989
Media Format: Vinyl
Media Runtime: 0
Mastering:
DDD
Catalogue Number: 427 772-1GH
Tracks:
| Composition | Artist Credit |
|---|---|
| Sonata for Piano No. 3 |
Wolfgang Amadeus Mozart, Composer
Vladimir Horowitz, Piano Wolfgang Amadeus Mozart, Composer |
| (6) Moments musicaux, Movement: No. 3 in F minor |
Franz Schubert, Composer
Franz Schubert, Composer Vladimir Horowitz, Piano |
| Schwanengesang (Schubert), Movement: No. 7, Ständchen, 'Leise flehen' (2nd version) |
Franz Liszt, Composer
Franz Liszt, Composer Vladimir Horowitz, Piano |
| Soirées de Vienne: 9 Valses caprices d'après Schubert, Movement: No. 7 in A |
Franz Liszt, Composer
Franz Liszt, Composer Vladimir Horowitz, Piano |
| Soirées de Vienne: 9 Valses caprices d'après Schubert, Movement: No. 8 in D |
Franz Liszt, Composer
Franz Liszt, Composer Vladimir Horowitz, Piano |
Author: Joan Chissell
Compounded of recordings made at various times between 1986 and 1989, this disc perfectly complements the one reviewed above: here Horowitz emerges first and foremost as a drawingroom charmer. Nothing is more seductively bewitching than the very last piece, the eighth Schubert/Liszt Valse-Caprice, which apparently gave Horowitz enough joy when playing it on his emotional return to Russia in 1986 for him to rerecord it, with No. 7 as a companion piece. In his own revealing booklet notes he also admits to an extra-special affection for the Schubert/Liszt ''Standchen''. This, too, brings moments of keyboard magic, notably when the tune itself, its echo in the treble and its accompaniment sound as if played by three hands rather than two. But his melodic succulence and somewhat self-conscious rubato earlier on made me feel he was trying to squeeze rather more out of Schubert's plaintive melody than was really stylish—or should Liszt be blamed for all that? He certainly comes much nearer to the simple truth in a delightfully nonchalant performance of the F minor Moment musical.
The first half of the recital goes to Mozart. Here, my only disappointment was the B minor Adagio, which I thought marginally too fast and fluid to carry its full weight. Pathos, yes. But this, surely, is music bordering on the tragic. Even tauter rhythm in the leading phrase, rather than his romantic pressing forward to its third beat sforzando, would have helped to sound a sterner, starker note. But the playful D major Rondo, another masterwork of the composer's maturity, is pure delight. To Mozart's early B flat Sonata at the start of the disc, Horowitz brings a Scarlattian tingle and sparkle, emphasizing the sharpness of its dynamic contrasts in the outer movements with unconcealed delight. As for its Andante amoroso slow movement, here (even in the 'lyrical' interpretation of its appoggiaturas) he illustrates just exactly what he meant, in his introductory notes, when writing ''ever since I was a young man, I have considered music of ALL periods romantic.... The belief that going back to Urtext will ensure a convincing performance is an illusion. An audience does not respond to intellectual concepts, only to the communication of feeling.'' No complaints about the recording, which brings the instrument close to you in your own room.'
The first half of the recital goes to Mozart. Here, my only disappointment was the B minor Adagio, which I thought marginally too fast and fluid to carry its full weight. Pathos, yes. But this, surely, is music bordering on the tragic. Even tauter rhythm in the leading phrase, rather than his romantic pressing forward to its third beat sforzando, would have helped to sound a sterner, starker note. But the playful D major Rondo, another masterwork of the composer's maturity, is pure delight. To Mozart's early B flat Sonata at the start of the disc, Horowitz brings a Scarlattian tingle and sparkle, emphasizing the sharpness of its dynamic contrasts in the outer movements with unconcealed delight. As for its Andante amoroso slow movement, here (even in the 'lyrical' interpretation of its appoggiaturas) he illustrates just exactly what he meant, in his introductory notes, when writing ''ever since I was a young man, I have considered music of ALL periods romantic.... The belief that going back to Urtext will ensure a convincing performance is an illusion. An audience does not respond to intellectual concepts, only to the communication of feeling.'' No complaints about the recording, which brings the instrument close to you in your own room.'
Horowitz At Home
Horowitz At Home
Horowitz At Home
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