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.

Concert of the Century at Carnegie Hall

Maybe the worst moments in the history of Carnegie Hall came in the 1970s. Since first decades of 20th century many things were changed – cinema, radio, television, popular culture and mechanical reproduction of sound made many forms of social activities obsolete. Many were convinced Carnegie Hall waits for the fate of many similar institutions and its bankruptcy is inevitable. The idea of collecting founds for help to the most remarkable musical institution in New York came from Isaac Stern. Great violinist called together his friends, the best musicians of this time, to commemorate the past and to help revitalizing the Carnegie Hall by giving special presentation in its auditorium.

Celebrating the 85th Anniversary of Carnegie Hall on May 18, 1976, musical society with Carnegie Hall Endowment Found produced great concert event with participation of great musicians. Artists invited to this project were in close relations with the place and its history. In program of this concert listeners can hear and see Leonard Bernstein with the Members of the New York Philharmonic, Dietrich Fischer-Dieskau, Vladimir Horovitz, Yehudi Menuhin, Mstislav Rostropovich, Issac Stern and The Oratorio Society directed by Lyndon Woodside. Also Martina Arroyo has been invited, but the star had to cancel her appearance due to accident. 

Celebrating The 85th Anniversary of Carnegie Hall

This special event, advertised The Concert of the Century, was recorded live and published in CBS Masterworks series (79 200). Two records, leaflet with lyrics of Schumann’s Dichterliebe and poster in red gatefold cover were the hit in following season of 1977. There was also a special edition of this album, printed in limited issue of 1000 numbered copies with large photos signed by artists and biography of every soloist, the program of the concert and essay on history of Carnegie Hall – all in red calf portfolio and marbled slipcase. In 1978 this album won the Grammy Award as Best Classical Album of the year. It was the third prize in this category in the career of Thomas Frost, producer of this album.
Special program assorted for this celebration include a number of works that became the base for individual and collective exposition. And everyone can find here something enjoying to himself. Beethoven’s „Leonore” Overture No. 3 in solid sound and natural expression of New York Philharmonic Orchestra conducted by Leonard Bernstein was the single symphonic piece in this program. Strong and emotional Pezzo Elegiaco from Piano Trio A Minor op. 50 by Peter Tchaikovsky was performed by Vladimir Horowitz, Isaac Stern and Mstislav Rostropovich. Also Rachmaninoff's Andante from Cello Sonata G Minor Op. 19 (Rostropovich and Horowitz) was example of perfect playing.
The cycle of songs Dichterliebe Op. 48 Robert Schumann composed for the lyrics by Heinrich Heine. This is one of most exacting romantic song cycles. And Dietrich Fisher-Dieskau maintains it with purity and lightness. His conception is clear and his voice sounds perfect in pair with accompanying him Vladimir Horowitz. Also Bach’s Concerto D Minor for Two Violins BWV 1043 with Yehudi Menuhin, Issac Stern and Leonard Bernstein playing harpsichord and conducting orchestra can satisfied the connoisseur. But what gives the listener the vision of the whole evening? When after Tchaikovsky’s Pater Noster sung by The Oratorio Society directed by Lyndon Woodside, in performance of Alleluia from Handel's oratorio The Messiah the whole collective of soloists engaged in this evening joined the choir. And even if it looks like an occasion to listen to Horowitz, Bernstein and Stern singing along, it is worthy to remember this recording as an perfect example of promoting a social activity.