Horowitz Plays Rachmaninoff/Concerto for Piano in Dm; Sonata for Piano No2/Vladimir Horowitz, Pianist

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 Amazon.com

Remembering Horowitz

Rachmaninov, on hearing Horowitz play his difficult concerto in private to him, remarked to someone afterwards, that VH "had swallowed it whole!" Need one say more? March 5, 2008

Buy it ! (for the concerto)

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).
February 1, 2006

The majesty of Horowitz

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. January 15, 2006

Exultant pianism; Faustian inspiration!

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.

October 22, 2005

It's Horowitz. It's the best.

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. August 24, 2005

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