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Epicurus.com - Horowitz in Moscow
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List Price: $16.98
Our Price: $16.98
Availability: Usually ships in 24 hours
Manufacturer: Deutsche Grammophon
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Average Customer Rating: 
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Binding: Audio CD
EAN: 0028941949929
Label: Deutsche Grammophon
Manufacturer: Deutsche Grammophon
Number Of Discs: 1
Publisher: Deutsche Grammophon
Release Date: 1990-10-25
Studio: Deutsche Grammophon
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Editorial Reviews:
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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
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Spotlight customer reviews:
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Customer Rating:
Summary: Horowitz in Moscow: in words of an eyewitness
Comment: I decided to add my post and describe my impressions, since I was there at the Great Hall of Moscow Conservatory and listened to Horowitz on April 20, 1986. I could not imagine that after some 20 years I would write these lines on the amazon.com.
May I at once say that there has never been a cult of Horowitz in this country. Our own cult figures, Richter and Gilels, were very critical of him, and our piano teachers advised against imitating Horowitz and blamed his taste. Local pianophils had other models in mind - either Russian (Rachmaninov, Sofronitsky etc) or German (Schnabel, Gieseking, Backhaus etc). Local collectionists had Horowitz LPs, but few opinions concerning them were shared: only Horowitz' Scarlatti and Clementi were generally welcome. But at the time of his concert all that was forgotten and everyone was electricised: the chance to see a legend and a former compatriot was enticing. I remember how difficult it was to get through the crowd and pass through the guards. The hall was overcrowded, people sitting in all the aisles.
The recital started with a big delay: some overfree figures (sound engineers) trying the piano and testing the equipment were on the scene. Finally, they disappeared and Horowitz came to light. From the first beat it became clear that his approach to music was different from what we had heard on most of his CDs: the phrasing was convincing, the playing more inward and the pianist was cherishing each note as a treasure. The program was thought-of cleverly. He started with Scarlatti and Mozart KV 330 - both were fine, but Rachmaninov and Scriabin, especially the latter, were a real deal: after such ravishing performances he could play virtually everything and get a stormy applause. Certainly, Chopin's Mazurkas were excellent, too. Today I am less fond of both Liszt items (the so called `Petrarca 104 sonetto' and Soirée No. 6), but I enjoyed them when I was sitting in the hall.
Comparing this recital with Horowitz other sound documents from the same period, I can confirm that he was in a good form. One of the reviewers above wrote about the `magical connection with the average listeners', when `the performer and the audience feed on each other'. Of course, that evening the inspiration was with him. But he also had rehearsed each item a lot and anticipated this concert as a big event. I happened to hear a fragment of his playing at the Scriabin museum close to the date of this recital: it was disappointing. And keep in mind that two Scriabin studies (Op. 8/2 and Op. 2/1) were probably the most successful items in the Great Hall on April 20, 1986.
Hank Drake kindly reminds in his review that some items, incl. Rachmaninoff G major Prelude and Polka, and Schubert-Liszt Soirées de Vienne came not from the actual recital, but from the public rehearsal two days before the concert. I have not been there, so I cannot compare the two variants (I wonder who, except for the DG engineers, can). But I can confirm that all these items were *not* the most successful ones in the recital. I definitely enjoyed the G sharp minor Prelude more than the G major one when I was sitting in the hall: I still think it was a thrilling performance of this masterpiece.
Customer Rating: 
Summary: The "Screamin' Demon" of the keyboard botches more music
Comment: Horowitz wouldn't know musical phrasing if you put a gun to his head. If you just like to hear shapeless pounding on the keyboard, however, this disc is for you. If not, there are tons of worthwhile alternatives.
Customer Rating:
Summary: The master returns to his birthplace!
Comment:
The powerful fingering of Vladimir Horowitz was his greatest personal landmark, well apart of other lavish gifts and skills. The artistic closeness with Arturo Toscanini, Fritz Reiner, Anal Dorati or Dmitri Mitropulos (or Paul van Kempen and De Sabata on the other side of the ocean), for instance based on a sharp way to conceive, feel and interpret the music, literally shocked and even molded an approach featured by grasping expansiveness of sound, a rough timber, rediscovering the sonorous possibilities supported by a basic instinct around the music gained them nay praised comments around the world.
Somehow this was not only a robust reply to a decaying Impressionism, but somhow it was the reverse of the romantic side of the coin.
This musical mainstream permeated the musical thought of many performers (from William Kapell to Leon Fleisher) and it was a perfect match respect the composers by then (Bartok, Nielsen, Hindemith, Busoni) where the music meant too a symbol of epic resistance.
This attitude maintained until the early seventies, when the elegance of the sound and the absence of fortissimos in the most Symphonies of Beethoven, were substituted by sonorous ellipsis and tonal brightness, leaving side a mercurial energy so essential in Beethoven, Bruckner or bartok, but extremely important in Mahler, Henze or Stravinsky.
However Vlada knew to maintain that kindred closeness with Scriabin and Chopin, making of him a true revelation in what the resonance of every bar, giving a feverous state of spiritual effervescence and renowned lyricism.
With the arrival of the new musical generations from diverse latitudes, behind the iron curtain the musical tradition literally had held in a sort of transition state due the isolation, the existential anguish and uncertainness respect the future.
That's why the Horowitz sound has deserved a place in the history of music, beloved by many, and hated for others, but keeping a faithful attitude of honesty and conviction about the material they were playing.
With these performances in the winter of his life, Horowitz was said goodbye to the century of fear and the horror when motivated by the call of his birthland, he decided to return to Moscow, to be known by a new generation, who knew about him and his circumstance. But that never were exception witnesses.
Customer Rating:
Summary: Horowitz Returns to Moscow at the Age of 82
Comment: 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!
Customer Rating:
Summary: My favorite classical recording of all time.
Comment: 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.
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