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🎹🎶 LIKE and SUBSCRIBE for more videos ! 🎹🎶 SUBSCRIBE to my PATREON ! → Vladimir Horowiz : Carnegie Hall Rehearsal, 7 April 1965 (Bach, Busoni, Schumann, Scarlatti, Rachmaninoff, Chopin, Moszkowski, Liszt, Chopin, Scriabin, Conversations etc...) Performer : Vladimir Horowitz, piano Date : 7 April 1965 Place : Carnegie Hall Program : Rehearsal 00:00 Horowitz improvising 02:45 Conversation I 03:28 Bach/Busoni : Preludio, from Toccata in C Major, BWV. 564 09:51 Conversation II 10:05 Bach/Busoni : Toccata insert 12:26 Conversation III 12:41 Bach/Busoni : Adagio, from Toccata in C Major, BWV. 564 17:48 Conversation IV 18:05 Bach/Busoni : Fuga, from Toccata in C Major, BWV. 564 22:57 Conversation V 23:45 Schumann : Fantasy in C major, op. 17 : II, Mässig 28:30 Conversation VI 28:40 Schumann : Fantasy in C major, op. 17 : III Langsam getr 38:25 Conversation VII 38:38 Conversation VIII 39:04 Scarlatti : Sonata in E Major, K. 380 (L 23) 41:58 Rachmaninoff : Prelude in G Sharp Minor Op. 32, No. 12, 44:33 Chopin : Nouvelle Etude No. 2 in A-flat Major, Op. posth 46:32 Moszkowski : Etude in A-flat Major Op. 72, No. 11 47:54 Liszt : Valse Oubliée No. 1, in F sharp Major 50:40 Chopin : Etude Op. 10, No 8 in F Major fragment ending 51:13 Scriabin : Sonata No. 9 “Black Mass“ in F Major for Piano, Op. 68 58:38 Conversation IX BIOGRAPHY The most famous pianist of the twentieth century, his name known to the proverbial man on the street the world over, Vladimir Samoylovich Horowitz (1903–1989) was born in 1903 in Kiev. Horowitz showed enough prodigious talent to play for Alexander Scriabin in 1915, just before the Russian composer-pianist’s early death. Horowitz would become a superlative interpreter of Scriabin’s music, which the pianist described as “mystical… expressionistic.” Horowitz also became friends with another great Russian composer-pianist (and Scriabin’s former schoolmate), Sergei Rachmaninoff – who was the acme of Romanticism. He also made a benchmark recording of Rachmaninoff’s Piano Sonata No. 2. Emigrating from Russia in 1925 and eventually settling in New York City, Horowitz made his American debut with Tchaikovsky’s Piano Concerto No. 1 in 1928 at Carnegie Hall, which would become his home venue, the site of many recordings. Impressed by the pianist’s tonal dynamism, conductor Thomas Beecham, who led that concert, reportedly said: “Really, Mr. Horowitz, you can’t play like that – it shows the orchestra up.” Horowitz made a series of solo recordings for HMV at London’s Abbey Road Studios in 1932, including several Chopin pieces and an electrifying take on Liszt’s B Minor Sonata, helping to establish the piece in the standard repertoire. A review of a 1933 London concert declared Horowitz “the greatest pianist dead or alive.” Horowitz would make hit recordings with Toscanini of the Tchaikovsky concerto and the Brahms Piano Concerto No. 2 in 1940–41. Over the course of his career, Horowitz’s recorded repertoire stretched far beyond those early specialties of Chopin, Brahms, Liszt, Tchaikovsky, Scriabin and Rachmaninoff; in long associations for RCA, then Columbia and, finally, Deutsche Grammophon, Horowitz also ranged from Scarlatti, Haydn and Clementi to Beethoven, Schumann and miniatures across the ages with artistic and commercial success; in a period of applying himself to modern music, he premiered Samuel Barber’s Sonata in 1950, along with recording sonatas by Prokofiev and Kabalevsky. Driven to “grow until I die,” he said, the pianist reapplied himself to select Beethoven sonatas in his middle period and then several Mozart works as he grew older. Horowitz also crafted his own transcriptions and arrangements, including such showstoppers as his variations on Carmen and Stars and Stripes Forever. In his book The Great Pianists, critic Harold Schonberg wrote: “As a technician, Horowitz was one of the most honest in the history of modern pianism. Famously high-strung, his art always a mental-physical high-wire act, Horowitz took four sabbaticals from public performance to deal with various issues, his returns much-ballyhooed events. The first layoff was for two years in 1936; the longest was 1953 to 1965, followed by a tremendous homecoming to Carnegie Hall. But even over his later breaks, he recorded regularly at home in his Manhattan townhouse, documenting his art as it subtly evolved even beyond great venues and the recording studio. A 1985 film, The Last Romantic, captured the pianist in his last years, performing at home as well as reminiscing about Scriabin and Rachmaninoff. The next year, Horowitz returned to Russia, 61 years after leaving — a hugely emotional event for both artist and audience, documented in the concert album and film Horowitz in Moscow. In 1987, he played his final recital, in Hamburg; he died two years later.
