Bruno Walter - Schubert's Unfinished and Beethoven's Fifth

★★★★★

   There are genius musicians and musicians with moderate talent. Among them there are modest people and impostors. Since most musicians are duplicating some patterns, it is really hard to say what part of the scene is more important in the history of music, creators or carriers and supporters.  One of the best ways to test creative talent in music is to examine how original are interpretations of commonly known works. Performances too much dependent of tradition, reproductive and not self-reliant are excluded at this point, although we should remember this is the main part of all musical activity. Interpreters who can show the work in new perspective, who are able to find some new ideas in famous and commonly known work, these are really gifted people. Such works as most popular symphonies like Beethoven’s Fifth or Schubert’s Unfinished are the test some musicians will never pass.
   Bruno Walter recorded Schubert and Beethoven many times. Especially looking for recordings of most popular symphonies like Beethoven’s Fifth and Schubert’s Unfinished, one can be overwhelmed by number of performances and recordings. But our astonishment fades away when we consider it was just a part of everyday work and basic symphonic repertoire was recorded on various occasions, for example with live radio broadcasts. Standards were considerably lower and market more voracious, so recordings had more chance to be sold. These recordings have paramount importance in understanding changes in perception of music in last century. Bruno Walter recorded Schubert’s Symphony No. 8 “Unfinished” nine times, first time with Vienna Philharmonic Orchestra in 1936 and last time with the same orchestra in 1960. Beethoven Symphony No. 5 in C Minor Bruno Walter recorded four times, first time for Columbia with Royal Philharmonic Orchestra in 1926, second with New York Philharmonic in 1941 and then two times more as parts of wider projects of complete Beethoven’s Symphonies in 1950 with New York Philharmonic and in 1958 with Columbia Symphony Orchestra.

Bruno Walter conducts Schubert and Beethoven (1963)

   In 1963 edition of two most popular symphonies Columbia chose newest studio recordings. Schubert’s Symphony No. 8 is sixth recording and was made with New York Philharmonic March 3rd, 1958 at St. George Hotel in Brooklyn. It was recorded three more times with Chicago Symphony Orchestra, New York Philharmonic and with Vienna Philharmonic, but all of these were live recordings. Recording of Beethoven’s Symphony No. 5 with Columbia Symphony Orchestra was Walter’s last recorded performance of this work. It was done during two day session January 27 & 30, 1958 at American Legion Hall. Both were master performances and Columbia published them repeatedly as parts of various programs. Unfinished Symphony was published under Columbia Masterworks label since 1960 in many re-editions. It basic set was together with Schubert’s Fifth Symphony. This album has its license edition in German Democratic Republic in 1967, in 1974 was republished in CBS Masterworks and in 1996 on CD with Beethoven’s Overture Leonore III by Sony. Beethoven’s Fifth was published with Fourth and sold both as a part of  complete Symphonies' set or as alone album.
   What makes these more than half century old recordings still interesting is the question of value in music. In fact this is also the way to ask about autonomy of musical meaning. 19th century music is so much complex it can be reinterpreted without the danger its potential can be exhausted. The issue in best conductors’ performances is not only to show the new face of the composition, but to show it in most universal, most capacious shape. Bruno Walter read Schubert’s Symphony No. 8 B Minor ‘Unfinished’ in a dramatic way, moving the centre of gravity from melodic narration to background harmony dramatic contrasts and obsessive rhythms. Powerful dynamics and orchestral precision of sound and articulation give this performance more tragic aspect than usual. In contrast Beethoven’s Symphony No. 5 C Minor Op. 67 Bruno Walter shaped as more classical, balanced in equilibrium of melodic and rhythmic ideas and formal discipline. Characteristic feature of his interpretation of Fifth are moderate tempos, never too fast, rather slower, calm and reassuring. Five stars for quality of interpretation sound of orchestras and recording quality.

Giuseppe Sinopoli conducts Unfinished and Italian

★★★★✰

   Romantic symphony was not as much popular as in 18th century, but it was powered by completely different idea of music piece. The evolution of symphony in classicism was the transition from idea of universal construction without qualities to the medium carrying the universal truth. In romantic era this form became a container for more specific contents. In first half of 19th century, before symphonic poem was invented, symphony was the best vehicle for composer ideas. Allowing themselves to be carried away with emotional reactions, composers portrayed different states of mind and even narrative components in program symphony. What is interesting, later in post-romantic music idealistic striving for universality of symphony will return with redoubled strength.
   The two of perfectly romantic symphonies are Symphony No. 8 in B Minor D 759 “Unfinished” by Franz Schubert and Symphony No. 4 in A Major, op. 90 “Italian” by Felix Mendelssohn. Each one could serve as apotheosis of extreme feelings – on one side is awareness of inevitable death and on the other unbridled joy of life. It’s worth to mention in romantic era these emotions were not distant, sometimes even not separated. And it is perfect opportunity to hear interpretation of these two works presented by conductor who has the chance to commented musical structures and his idea of rendering these works of romantic music. The artist was Giuseppe Sinopoli and was recorded with Philharmonia Orchestra for Deutsche Gremmophon in 1983. The album was published next year. On enclosed inlay was published the conductor’s essay and cover featured Johann Heinrich Schilbach’s watercolor.

Giuseppe Sinopoli conducts Schubert and Mendelssohn (1984)

   In essay Dream and memory in Schubert’s ‘Unfinished’ Sinopoli focuses on esthetic meanings and structural significant features of this famous symphony. Giving some concepts how one can find a deeper message in symphonic music, he concludes: “The musical meaning seems […] to be guaranteed by what Adorno calls ‘an ontology of form’ that can function as a stabilizer of ‘epic tendencies’. And yet it is not so much a question of guarantees and reductive stabilizations of the musical meaning by the form (which would once again imply a classicistic interpretative reading of the symphony) as of a fixing or immobilization of the form by that Inhalt (content) that visit it. The magical consequence of this encounter is the sound of the symphony, which is wholly Schubertian and wholly individual”. Accordingly to this opinion, Sinopoli interpreted ‘Unfinished’ Symphony from whole new perspective. Sound and rhythmic patterns occur to be meaningful; he is decoding melodic as narrative motives by following strictly dynamics and tempos.
   With no essay, the same method could be adopted to Mendelssohn’s ‘Italian’ Symphony. Sound qualities, articulations, tempos and dynamics show opposite side of romantic soul. Even calm mood and praying reminiscences of Andante con moto (composed in D Minor) are unable to change the impression of rejoicing ubiquitous in this symphony. The moderate drama of development part is nothing more than contrast to show the joy, serenity and light of the A-major work. Dramatic lineaments of finale Saltarello in minor key (A minor) show how effective contrasts can be. The two symphonies are clearly the pair of oppositions, even if joy is not as emotionally clear as grief and mourning, understand as “the cultic celebration of loss (…) of some good”, as Sinopoli defines it in his essay. This rendition can be breaking point for anyone who is willing to understand romantic symphony and this is worth the four and a brighter half on the five-star scale.

Gérard Souzay in Franz Schubert’s Winterreise

   The art song, in German called “Lieder” or in French culture named “mélodie” is probably most characteristic form of romantic music. It was composed yet by many composers of classical era, but even very interesting results achieved by Ludwig van Beethoven can’t change romantic assignment of song form. One of greatest song composers was Franz Schubert who created new formal shape for songs as romantic form. And songs are the most characteristic part of Schubert’s creative output. Although he was active in all forms of musical composition, Lieder became main medium for his creativity.
   The idea of romantic song, the practice of setting songs for stage performance aims the cycle of songs the upper formal structure. In Schubert’s creative output there are two cycles composed as a whole works, Die schöne Müllerin op. 25 (D. 795) and Die Winterreise op. 89 (D. 911), both basing on lyrical poems by Wilhelm Müller (1794-1827) and both referring to the hero’s dramatic condition after heartbreak. Third Schubert’s cycle Schwanengesang (Swan Song) was collection set by publisher after composer’s death. It was made probably just for profits, as previous cycles were selling out very well.

Gerard Souzay - Franz Schubert - Die Winterreise (1983)

   One of well established and executed performances of Schubert’s Die Winterreise is the rendition by Gérard Souzay and Dalton Baldwin. Gérard Souzay (1918-2004) was famous interpreter of French mélodie and chanson. He was valued lyrical baritone with perfect sense of style and clear narrative possibilities. A long list of his records comprises some about 750 titles. He was priced for songs of French composers Ravel, Fauré and Poulenc. Sometimes he was also criticized for his style as bourgeois. When asked to clear his performing ideas he said: “For me music is limpid and speaks for itself. I can only offer my emotions when I sing”. This attitude is giving his performances more universal and readable shape.
   From 1954 Gérard Souzay was performing and recording with collaborative pianist Dalton Baldwin. As wrote Roger Dettmer in allmusic.com, Gérard Souzay’s “presence onstage was elegantly handsome” and his artistry “quietened even chronic coughters”. In 1977 Gérard Souzay and Dalton Baldwin had recorded complete 24 songs from Winterreise for Pathe Marconi EMI, in 1983 has been reissued in the USA under the Musical Heritage Society label. Nice sounding voice helps him develop chamber emotions and narrative track of sad romantic storyline. This rendition is perfect example of creating the cycle as one piece out of consecutive poetic scenes as layers and accumulating emotions of every next song. Three and half of star for clever “bourgeois” style and high vocal culture.

Hermann Prey – Auf Flügeln des Gesanges

   Hermann Prey was one of greatest German singers of 20th century. His lyric baritone was perfect for performing artistic song which was main part of Prey’s rich repertoire. He was also known for his opera appearances, especially for the roles requiring acting talents and virtuoso vocal technique like the unforgettable one of Figaro in TV movie of Rossini’s Il Barbiere di Siviglia made by Jean-Pierre Ponnelle in 1972. Since he was known as gifted singer with beautiful voice, he was appearing as well in oratorio as in more popular repertoire. But he was remembered mainly for his Lider recitals. So the hallmark of his discography are perfect renditions of songs and song cycles.
   Collection of Herman Prey’s song recordings were published by Philips in early 70’s. The series Lied Edition Prey comprises 27 discs in four boxes from Minnesang to contemporary music, from Walter von Vogelweide and Oswald von Wolkenstein to songs composed by Giselher Klebe and Friedrich Gulda. In the series there were also published two albums with highlights Zum Lob des deutschen Liedes and Auf Flügeln des Gesanges with songs of German romanticism.

Hermann Prey – Auf Flügeln des Gesanges (1974)

   Under the title inspired with Heinrich Heine’s poem and Felix Mendelssohn’s song, Philips published album of romantic songs recorded by Hermann Prey for this label. Choice comprises four songs by Franz Schubert with Der Pilgrim to the poem by Friedrich von Schiller, three songs by Robert Schumann to poems by Johann Wolfgang von Goethe, Joseph von Eichendorf and Hans Christian Andersen – brave performance of Der Spielmann. Second side is opening with title song Auf Flügeln des Gesanges by Heinrich Heine and Felix Mendelssohn-Bartholdy, then come Im Rhein by Heinrich Heine and Franz Liszt, Lied des Mephistopheles from Goethe’s Faust composed by Richard Wagner, In der Ferne written by Peter Cornelius to his own words, and recital close two songs by Johannes Brahms and three songs by Hugo Wolf.
   Piano accompaniments were played by Karl Engel (Schubert), Leonard Hokanson (Schumann, Wolf) and Gerald Moore (Mendelssohn, Liszt, Wagner, Cornelius, Brahms, Wolf). Hremann Prey’s renditions are natural and unforced, subordinated to musical and artistic ideas of each song. He interprets music and words trying to catch them as the entity of the message. In fact romantic artistic song is called with German term Lied, and this is somehow honoring this phenomenon. Based on great poetry of 18th and 19th centuries and perfect music elaborations of romantic composers, these songs are complete artistic expression and in Hermann Prey interpretations they shine as jewel in the crown of romantic output. Four and half jewels in five jewel scale.

Eugene Ormandy conducts Schubert and Mozart

   Eugene Ormandy was one of most active conductors of 20th century. He recorded almost complete of great symphonic repertoire with many most popular works doubled or tripled. Interesting attribute of his discography was unusual interesting towards contemporary symphonic music. For obvious reasons he presented more romantic repertoire than new music, but with superiority of late 19th and 20th century neo romanticism. He was specially priced as interpreter of great symphonic works by Tchaikovsky, Bruckner, Strauss, Mahler and Rachmaninoff. 20th century music was represented inter alia by compositions of Ravel, Prokofiev, Shostakovich, Orff, Nielsen, Sibelius, Hindemith, Webern, Schoenberg. He also gave his rendition of Utrenya by Krzysztof Penderecki. Thank to his sensitivity and musical competences he was also one of most favorite partner for concert soloists. No wonder Ormandy performed and recorded with almost complete list of best piano, violin and cello masters active during half century of his career.
   Many of his performances Ormandy was conducting from memory because he was able to learning fast even most complicated scores. And he didn’t use the baton, making individual contact with every musician the weighty element of his professionalism. As music director of Philadelphia Orchestra, he was conductor of absolute outstanding artistic possibilities and best manners, with indispensable distance and leadership skills. In general in his artistic attitude he was occupying the same positions as Arturo Toscanini who was his friend and most admired master. Opulent sound and gently formed phrases, care for the orchestral sound which has priority over individual expression in opinions of many listeners makes Philadelphia an orchestra of richest sound.

Eugene Ormandy conducts Schubert and Mozart (1968)

   In 1968 Ormandy renewed recording contract with RCA Red Seal label. Recording sessions started immediately. In long series of renditions immortalized on records one can find almost complete history of symphonic music. He recorded very quickly, through excellent preparation and serious accountability. In May 27th and 28th 1968 The Philadelphia Orchestra conducted by Eugene Ormandy recorded Franz Schubert’s Symphony No. 8 “Unfinished” and Wolfgang Amadeus Mozart’s Symphony No. 41 “Jupiter”. These renditions are highly inspired, subordinated to the concept of dramatic development of symphonic form. In this reading Unfinished Symphony shows itself as musical discourse about most dramatic human questions. And there can be no doubts, it is finished as well as Jupiter Symphony.
   The same kind of musical drama is shown in Mozart’s last known symphony. Contrasts between movements, expression and rhythmic differences create sequence of tensions leading to final Allegro molto which is balancing between heroic pathos and dramatic feeling of uncertainty and irrevocable fate. Almost 45 years after it was recorded, these symphonies sound as fresh as if it were recorded at present. Some passages evoke strong impression, the artists were able to capture in these renditions the essence of symphonic form.

Leon Fleisher plays Schubert

   Considering style of many composers who died in their thirties we have to remember we don’t have their mature works and what we can see is only a part of process for reaching their own expression. Many of great composers in 18th and 19th century died in the prime of life. In romantic period this was almost a rule, artists were dying early and their lives were paid for with suffering and disease. Franz Schubert is one of many who fit into the scheme. He lived in poverty, died very prematurely and yet he is one of greatest romantic composers. His songs and instrumental works define romantic style. Especially compositions from last years of his life can be seen as definition of romantic style.

   Among many Schubert’s compositions last three of his piano sonatas in C Minor, A Major and B-flat Major have great importance. Numbered decades after his death as 19th, 20th and 21st (in Deutsch’s catalogue 958, 959 and 960), these three sonatas create new formal shape of the form as more unified in its cyclic development. Tonal contrasts, expansion as main method of material modification, subordination of the various elements and means of expression to one lineage and aesthetic consistency are the features giving this works special place in the history of music.
   Especially Sonata B-flat major is legendary. The significance of this work is also related to the legend, saying composer sensing his death, wrote a farewell song. His last Piano Sonata Schubert wrote just weeks before his death. Deep sadness of second movement can be overwhelming but light, dancing scherzo and heroic drama of final movement clearly show this is not the type of funeral music. But still included in this sonata solutions can be seen as Schubert's artistic testament, even if not intended.

Leon Fleisher plays Schubert Sonata B-flat (1979)

   While live recitals are full of other Schubert’s compositions, sometimes much easier but still phenomenally attractive for listeners, last Piano Sonata is also one of most frequent recorded piano compositions. Among best interpreters of this work is Leon Fleisher, artist who recorded Sonata B-flat Major twice. He debuted in age of eight and when he played with New York Philharmonic at the age of sixteen, conductor Pierre Monteux announced him as “pianistic find of the century”. After winning Queen Elisabeth Music Competition in 1952, he became one of the most appreciated pianists in US. Exclusive recording contract with Columbia Masterpieces resulted in long term collaboration with George Szell and Cleveland Orchestra and highly valued recordings of piano concerti by Mozart (25th Piano Concerto), Beethoven and Brahms, Schumann, Grieg and Rachmaninoff.
   The recording of last Schubert’s Sonata for Piano from July 1954 shows Leon Fleisher in best shape. This performance of Sonata B-flat Major D 960 charms with its freshness and openness. The perfect technique is only its initial point. The launch of the internal energy and the emotional depth of experience are its aim and destination. Fleisher’s interpretation is melodious and dramatic, rhythmic and lyrical with pronounced respect for the work, revealing a desire to reconstruct the composer’s idea. The touch of class characterizes also the cycle of 12 Deutsche Tänze (Ländler) op. 171, D. 790 recorded in May 1955. This beautiful set has been republished by CBS in 1979 (CBS 61862). One of best piano recordings – for perfect rendition and best quality of sound – it is pure magic.

Svyatoslav Richter – Schubert Piano Sonatas

   In artistic output by Franz Schubert one can find works strictly connected to classical ideas of form, however many of them are exploring new era sensitivity. As his unusual talent can be observed in almost every composed piece, 21 piano sonatas is collection of more comprehensive works, giving a chance to understand what direction and the way he was trying to experience the capacity of sonata form. Two of Schubert’s Piano Sonatas recorded by Svyatoslav Richter in 1979 show how different these works can be. First of them Piano Sonata No. 9 in B Major Op. 147, D. 575 was composed in August 1917. The formal discipline of this work, nicely balanced ideas and means give the same kind of comfort as similar early sonatas by Beethoven. Opposite position takes work with typical romantic freedom of expression and free form, Piano Sonata No. 11 in F Minor, D. 625 finished one year later in September 1918.
   First difference on construction level is switching place of Scherzo – in Sonata No. 9 it is still 3rd movement, exactly as in classical sonata form, but in Sonata No.11 it is 2nd movement. But both are still four-part works. Sonata No. 9 has four-part order: Allegro ma non troppo – Andante – Scherzo. Allegretto – Allegro giusto. In Sonata No. 11 parts are in sequence: Allegro – Scherzo. Allegretto – Adagio – Allegro. Inner differences are much more substantiate. Changes of tempo and dynamic contrasts in Sonata F Minor can remind us capriccio or fantasia, what makes this romantic sonata is widely open for individual interpretations.

Svyatoslav Richter – Schubert Piano Sonatas (1981)

   In late seventies Svyatoslav Richter placed Schubert’s Sonatas No. 9 and No. 11 in many programs he played all over the world. Many of these performances were recorded and published. Sonata No. 9 in 1979 was recorded live in Tokyo for RCA Victor and in London for BBC, Sonata in F Minor in Munich in 1978 and in 1979 in Tokyo and in London – first two recordings published by RCA Victor and London performance by BBC Legend. Live performances recorded for RCA Victor in Tokyo were published in the 1981 edition of Melodiya.
   Svyatoslav Richter was one of best pianists in 20th century and perfect interpreter of Schubert’s Sonatas. Legendary technical possibilities gave his performances varied layers of musical narration obtained by colorful sound, articulation and dynamics. This made remarkable readability of construction and deep emotional contents. Both Sonatas are clearly opposite and Svyatoslav Richter’s interpretations intensify impression of these features. In his performance Schubert’s Sonata B Major is intended to compensate various layers and to reduce contradictions in single structural whole. In Sonata F Minor basis for Richter’s interpretation were contrasting episodes and thematic transformations are building strongly emotional musical narration. Dramatic tension between these two Sonatas can be seen as the moment of defining change made between classical and romantic attitude. Richter’s performance is great opportunity to perceive this change.

Franz Schubert – Octet and Two Trios

   In early nineteenth century European music as well as a whole culture became the arena of revolutionary changes. One of effect of this transformation were careers of many composers from every corner of Europe. If any of them could be seen as the quintessence of romantic style in music, it is Franz Schubert – the Viennese composer who lived in poverty, died before age of 32 and left huge number of works. It is ironical, he was born in the center of musical world but never been recognized. Although he did not achieve his success personally, his music was adored by his contemporary listeners and later generations. 

   His music was classically balanced in economics of means of expression, but his most important future was melodic talent. There were very few composers in whole history, who were able to communicate so much with a single melodic line. Catalogue of his works includes all kinds of works, from great symphonic and sacred works to chamber music and songs, which became the landmark of the whole culture formation. Among his chamber works Octet for Two Violins, Viola, Cello, Double Bass, Clarinet, Bassoon and French Horn in F Major Op. 166, D. 803 is one of best known. This composition was commissioned by count Ferdinand von Treuer who was amateur clarinetist and who played the clarinet part during Octet first performance in March 1824.

Franz Schubert – Octet and Two Trios (1983)

   Perfect equilibrium of melodic expression, sound colors, construction and rhythmic ideas for releasing the dramatic tension gives Octet its place in chamber repertoire. The beautiful sound of Schubert’s arrangement for chamber ensemble has been perfectly captured in intellectual interpretation of Russian artists – violinist Oleg Kagan and Amayak Durgaryan, Mikhail Tolpygo playing viola, cellist Natalia Gutman, bass player Rifat Komachkov, clarinetist Lev Mikhailov, Valeri Popov on bassoon and Anatoli Dyomin playing French horn.
   This recording, made in 1979 were published in 1983 album under Melodiya label. The double album comprises also both trios for violin, viola and cello, both in B-flat Major. First was never completed but first movement composed in September 1816 (Trio B-flat Major, D. 471). Second trio, composed one year later in September 1817, Trio for Violin, Viola and Cello in B-flat Major, D. 581 is complete four movement construction of classical form. In Trios we can hear again Oleg Kagan, Mikhail Tolpygo and Natalia Gutman. These recordings are great example of virtuosos playing chamber music. This was great part of traditional practice in whole musical world. And as this set of records shows, in Russian music it has special impact.

The Sound of Horowitz

Vladimir Horowitz was one of greatest artists of the twentieth century. His legendary reluctance to public appearances made the recordings were main factor deciding on his artistic development. As gramophone recording artist, Vladimir Horowitz was active since 1928, when he for the first time was recorded by RCA Victor. Earlier, in 1926, his performances were registered on many piano rolls by Welte-Mignon. In time of Great Depression he recorded for His Masters Voice, it was European RCA’s affiliate, and then till the end of fifties his recordings were published by this company. Since 1953 it was continued second period of withdrawal in the artist career. In 1962 Horowitz begun studio sessions for CBS. The Sound of Horowitz is one of his early recitals recorded in CBS studios during four sessions on 6, 13 & 29 of November and December 18th, 1962. 

Although he was already well-known virtuoso, CBS tittled first Horowitz recitals as he was new on the music market.  The Sound of Horowitz was his second recital recorded for CBS. First was recorded in April and May 1962 and published in 1962 by Columbia Masterworks label under the tittle Columbia Records Presents Vladimir Horowitz and comprised Chopin’s Sonata No. 2, Rachmaninoff’s Etudes Tableaux, Schumann’s Arabesque and Liszt’s Hungarian Rhapsody No. 19. For this album in 1963 pianist received two Grammy Awards (for Best Solo Performance and Best Classical Album). Next year The Sound of Horowitz was awarded with Grammy for Best Instrumental Soloist Performance without orchestra. In this category Vladimir Horowitz was awarded also in 1965 and 1966.

The Sound of Horowitz (1963)

The recital comprised by the frame of The Sound of Horowitz album became reference point for pianistic artistry. Whole program has been constructed with precision and main idea behind. It starts with full cycle of thirteen Scenes of Childhood by Robert Schumann. Treated by assumption as being not difficult, miniatures were not composed for children. Small, sometimes episodic but mostly composed in binary form, miniatures of strong imaginary potential became Horowitz specialty. Rich and constantly changing Kinderszenen op. 15 and emotionally powerful Toccata op. 7 shows two opposite sides of Schumann’s works, deep sensitiveness and vivid expression are like two sides of composer personality. This contrast is getting even bigger considering relations between Schumann works and three of Domenico Scarlatti’s Sonatas beginning next side of the record. Repetitions in Sonata in G (L. 209) can be seen as a culmination of virtuoso technical display. And once again Horowitz shows brilliant technique just to reverse and strengthen melodious factor of piano music.

This is Franz Schubert’s Impromptu in G-flat op. 90 nr 3 showing how intensively and lyrically he can carry the melody. And Schubert’s musical language was always based on melody and imagination. Inner beauty of this music is making the phenomenal context for three compositions by Alexander Scriabin: Poem op. 32 nr 1, Etude in C-sharp Minor op. 2 nr 1 and Etude in D-sharp Minor op. 8 nr 12. Especially recorded by Vladimir Horowitz renditions of Scriabin’s Etudes have historical meaning as perfect interpretations and the result of extraordinary inventiveness and philosophical inspirations. The same can be said on every piece of The Sound of Horowitz recital. Beginning with romantic miniatures and virtuoso Toccata, jumping to early sonata form, then going to loosy romantic and postromantic forms Vladimir Horowitz shows piano as perfect singing instrument. This is the recital no piano admirer can miss.