A minor point: the Medtner ‘Fairy Tale’ was released once before, as part of the 1969 edition of “The Great Songs of Christmas” series made by Columbia for Goodyear. In that album, the piece was retitled “A Christmas Tale for Children” (to tie it in to the season) and Medtner wasn’t credited. But it’s a fun little piece and treated well by the maestro.
Rating: 4 / 5
I remember how entranced I was seeing Horowitz perform on television and watching him craft and nurture the music. I’ve enjoyed his interpretations since and this recording was completely enjoyable. I enjoyed especially the Chopin, Clementi and Scryabin works. I’m glad I discovered it.
Rating: 4 / 5
The material for this album was recorded from 1962-1972, but not released until 1992. Horowitz was a perfectionist when it came to programming albums and recitals, and generally recorded more than was needed for an album–this is the extra material. The performances are uniformly outstanding.
The CD starts with six Scarlatti Sonatas which are performed with Horowitz’s usual clarity, technical prowess, and charm.
Horowitz “floats” the theme of the Bach-Busoni Chorale Prelude in a way few other pianists have ever been able to match.
The four Clementi Sonata movements once again re-establish Horowitz as the greatest advocate of Clementi of his time – - perhaps of all time. Especially noteworthy here is the E-flat Rondo, tossed off with brilliant virtuosity while remaining true to the spirit of the composition.
Horowitz recorded more of Chopin’s music than that of any other composer, so the additions to Horowitz’s Chopin discography are truly icing on the cake. The well known “Raindrop” Prelude is played on a larger scale than usual – - the rain threatens to become a thunderstorm! The late Etude is a miracle of chord voicing, while the earlier Etude proves that one does not have to drown a work in a haze of pedal to achieve a legato effect.
With the Scriabin, we reach the climax of the album. The Album Leaf exudes a steamy vagueness, while the Etude in Fifths will set your nerves aflame (the last octave run sounds like the Horowitz of the 1940s.)
Both longtime Horowitz fans and newcomers to his art would do well to have this album in their collection.
Rating: 5 / 5
November 22nd, 2009 at 12:14 pm
Just look at the table of contents for these cuttings from recordings.
Especially the Clementi is a discovery!
Rating: 5 / 5
November 22nd, 2009 at 2:19 pm
This is my second purchase of this disc. The first one was never returned after it was loaned out.
It is one of my favorite classical discs, ( I have about 500 classical CD’s )
This Horowitz at his best, especially the Scarlatti, well, especially ALL of it.
Buy this, it will become one of your favorites, too.
Rating: 5 / 5
November 22nd, 2009 at 4:03 pm
A minor point: the Medtner ‘Fairy Tale’ was released once before, as part of the 1969 edition of “The Great Songs of Christmas” series made by Columbia for Goodyear. In that album, the piece was retitled “A Christmas Tale for Children” (to tie it in to the season) and Medtner wasn’t credited. But it’s a fun little piece and treated well by the maestro.
Rating: 4 / 5
November 22nd, 2009 at 5:02 pm
I remember how entranced I was seeing Horowitz perform on television and watching him craft and nurture the music. I’ve enjoyed his interpretations since and this recording was completely enjoyable. I enjoyed especially the Chopin, Clementi and Scryabin works. I’m glad I discovered it.
Rating: 4 / 5
November 22nd, 2009 at 7:26 pm
The material for this album was recorded from 1962-1972, but not released until 1992. Horowitz was a perfectionist when it came to programming albums and recitals, and generally recorded more than was needed for an album–this is the extra material. The performances are uniformly outstanding.
The CD starts with six Scarlatti Sonatas which are performed with Horowitz’s usual clarity, technical prowess, and charm.
Horowitz “floats” the theme of the Bach-Busoni Chorale Prelude in a way few other pianists have ever been able to match.
The four Clementi Sonata movements once again re-establish Horowitz as the greatest advocate of Clementi of his time – - perhaps of all time. Especially noteworthy here is the E-flat Rondo, tossed off with brilliant virtuosity while remaining true to the spirit of the composition.
Horowitz recorded more of Chopin’s music than that of any other composer, so the additions to Horowitz’s Chopin discography are truly icing on the cake. The well known “Raindrop” Prelude is played on a larger scale than usual – - the rain threatens to become a thunderstorm! The late Etude is a miracle of chord voicing, while the earlier Etude proves that one does not have to drown a work in a haze of pedal to achieve a legato effect.
With the Scriabin, we reach the climax of the album. The Album Leaf exudes a steamy vagueness, while the Etude in Fifths will set your nerves aflame (the last octave run sounds like the Horowitz of the 1940s.)
Both longtime Horowitz fans and newcomers to his art would do well to have this album in their collection.
Rating: 5 / 5