Sonata In G Minor, Op. 34, No. 2 (C.1788)
1 	First Movement: Largo; Allegro Con Fuoco 	9:28
2 	Second Movement: Poco Adagio 	5:55
3 	Third Movement: Allegro Molto 	6:27

Sonata In F Minor, Op. 14, No.3 (1784)		14:10
4 	First Movement: Allegro Agitato
5	Second Movement: Largo E Sostenuto
6	Third Movement: Presto 	

Sonata In F-Sharp Minor, Op. 26, No.2		11:55
7 	First Movement: Piuttòsto Allegro Con Espressione
8	Second Movement: Lento E Patetico
9	Third Movement: Presto 	

Vladimir Horowitz, piano

One of Horowitz's most interesting discs - these sonatas form a link between C.P.E. Bach, the Sturm und Drang of Haydn, and Beethoven's dramatic style.

"A mere mechanician, strong in runs of thirds, but without a pennyworth of feeling or taste". Mozart's extremely harsh judgement on the playing of Clementi, against whom the Emperor Leopold II pitted him in a famous keyboard duel, plus recollections of his purely educational music, has resulted in an almost total shunning of his 64 piano sonatas. But Beethoven, who possessed a large number of them, esteemed them very highly; and to anyone not already knowing them the three remarkable works on this disc will certainly come as a shock. AP was absolutely right in suspecting that Clementi was "one of the greatest of neglected masters".

The present three sonatas, dating from between 1784 and 1788, form as it were a link between C. P. E. Bach (whose wildness they share, as witness all the finales), the Sturm und Drang of Haydn, and Beethoven's dramatic style. The first movement in each case is striking—ominous in the F 'minor, movingly expressive in the F sharp minor, while the G minor has a highly dramatic short Largo leading to a fiery Allegro in the middle of which there is, after an abrupt key-jolt, a recollection in tranquillity of the opening. I recommend also the lovely Lento of the F sharp minor.

Horowitz plays these with great tonal sensitivity and great rhythmic vitality; and though the sound is a trifle harsh in forte and a bit boxy in general, the 1955 recording stands up well. This was always one of Horowitz's most interesting discs, and it should not be missed by those who do not already have it. ---arkivmusic.com

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SCHUBERT Sonata in B flat, D.960
01 Molto moderato
02 Andante sostenuto
03 Scherzo: Allegro vivace con delicatezza – Trio
04 Allegro, ma non troppo – Presto
CHOPIN
05 Nocturn in E minor Op.72
06 Scherzo No.1 in B Minor Op.20
SCRIABIN
07 Sonata No.9, Op.68
08 Etudes Op.8 no.11
09 Etudes Op.42 no.5
LISZT
10 Hungarian Rhapsody No.2

ENCORES

DEBUSSY
11 Serenade for the Doll (from the Children's Comer)
CHOPIN
12 Waltz No.3 in A minor Op.34 no.2
PROKOFIEV
13 Sonata No.7 Op.83 (IV.Precipitato)

Vladimir Horowitz - Carnegie Hall. February 25, 1953

On December 18, 1925, Horowitz made his first appearance outside his home country, in Berlin. He later played in Paris, London and New York City. Horowitz was selected by Soviet authorities to represent Ukraine in the inaugural 1927 International Chopin Piano Competition: however the pianist had decided to stay in the West and thus did not participate.

Horowitz gave his United States debut on January 12, 1928, in Carnegie Hall. Horowitz's success with the audience was phenomenal. Olin Downes, writing for the New York Times, commented, "it has been years since a pianist created such a furor with an audience in this city." In his review of Horowitz's solo recital, Downes characterized the pianist's playing as showing "most if not all the traits of a great interpreter."

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Chopin - Sonata No. 2 In B-Flat Minor, Op. 35 	(21:23)
A1 	– 	I — Grave; Doppio Movimento 	5:20
A2 	– 	II — Scherzo 	6:48
A3 	– 	III — Marche Funèbre: Lento 	7:45
A4 	– 	IV — Presto 	1:25
B1 	–Rachmaninoff 	Étude-Tableau In C Major, Op. 33, No. 2 	2:25
B2 	–Rachmaninoff 	Étude-Tableau In E-Flat Minor, Op. 39, No. 5 	4:42
B3 	–Schumann 	Arabesque, Op. 18 	5:31
B4 	–Liszt 	Hungarian Rhapsody No. 19	9:42

Vladimir Horowitz - piano

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CD 1 [48:18]

01. Auftrittsapplaus
02. Scarlatti - Sonate h-Moll L33
03. Scarlatti - Sonate E-Dur L23: Andante
04. Scarlatti - Sonate E-Dur L224: Allegro
05. Schumann - Kreisleriana op.16
06. Liszt - Valse caprice d'apres Schubert Nr.6 aus Soirees de Vienne

CD 2 [42:38]

01. Rachmaninov - Prelude in G major, Op.32 no.5
02. Rachmaninov - Prelude in G sharp minor, Op.32 no.12
03. Skrjabin - Etude in C sharp minor, Op.2 no.1
04. Skrjabin - Etude in D sharp minor, Op.8 no.12
05. Liszt - Sonetto del Petrarca No.104
06. Chopin - Mazurka in A minor, Op.17 no.4
07. Chopin - Mazurka in F minor, Op.7 no.3
08. Chopin - Polonaise in A flat major, Op.53
09. Schumann - Kinderszenen, Op.15 no.7 Traumerei
10. Liszt - Valse oubliee No.1 in F sharp major
11. Moszkowski - Morceaux, Op.36 no.6 Etincelles

Vladimir Horotowitz – piano

Berlin Concert May 18, 1986

For the most part Vladimir Horowitz is on his best late-period form in this previously unreleased (and presumably unedited) Berlin concert from May 18, 1986, held just weeks after the pianist's much heralded Moscow return. The Scarlatti sonatas, the Sonetto del Petrarca No. 104, and the Valse caprice are a little more sedate yet better controlled than their Moscow counterparts, while the two Scriabin etudes similarly prove more sure-footed (the D-sharp minor's difficult, soft opening, for example).

Despite a few wrong notes and pounded-out passages, Kreisleriana emerges as direct and coherent as in Horowitz's 1985 DG studio version, with even more inner voices popping out from Schumann's textural thickets. I like how Horowitz enhances the syncopated effect of the final piece's accented bass notes by playing them slightly ahead of the beat. Once past a stumble at the outset, Rachmaninov's G major Prelude coddles the ear as it nearly always did in Horowitz's hands (if the chromatic coda doesn't make you drool, see your doctor!), while the G-sharp minor is broader, more massively contoured than in Horowitz's leaner 1967 Columbia Masterworks live recording.

I've never warmed to Horowitz's post-1985 Chopin A-flat Polonaise performances, with their poky phrasings and contrived accentuations (his equally fustian yet more taut 1971 Columbia studio version is far superior), yet he's more comfortable here with the Trio's notorious octaves than in Moscow or in his 1987 Vienna and Hamburg recitals. But Horowitz's technicolor abilities truly come home to roost in the two gorgeously stretched-out Chopin Mazurkas.

The acoustics of the Berliner Philharmonie's Grosse Saal flatter Horowitz's ravishing, variegated tone, together with his genius for dynamic projection. Three extensive booklet essays discuss the event, the music-making, and the pianist's Berlin connection in thorough detail. One complaint: Kreisleriana's eight movements are banded together as a single track. ---Jed Distler, ClassicssToday.com

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A Schumann - Kreisleriana, Op. 16	31:08
B1 D.Scarlatti - Sonata In B Minor, K.87 (L.33)	4:21
B2 D. Scarlatti - Sonata In E Major, K.135 (L.224)	3:15
B3 F .Liszt - Impromtu ('Nocturne') In F Sharp Major (1872)	3:19
B4 F. Liszt - Valse Oubliée No.1	3:05
B5 A. Scriabin - 	Etude In D Sharp Minor, Op.8 No.12	2:14
B6 F. Schubert - Impromptu In B Flat Major, D 935 No.3		10:04
B7 F. Schubert - Military March In D Flat Major, D 733 No.1	6:08

Vladimir Horowitz – piano

Even in his late years, Horowitz evokes a Schumann wholly possessed in Kreisleriana, and his Scriabin shows how he could still kindle glowing embers into scorching flame.

For Horowitz's DG debut on record, taken from the soundtrack of the film "The Last Romantic", microphones and cameras went to his New York home (419 045-1GH; CD 419 045-2GH, 5/86). But this second recital is a studio recording, his first for over 12 years, for which his own piano travelled with him after a precarious descent from a second-floor window. Let me say at once that the sound quality could scarcely be bettered.

The date was September 1985, when he was already within sight of his 81st birthday. It would be idle to pretend that the years have taken no toll. One or two stormier climaxes in Kreisleriana, like a few passing details in the concluding March, no longer emerge completely effortless. As an interpreter, too, his desire to shed new light sounds just that bit more forced. But that's by the way. It still remains a graphic reminder of the last great believer in the divine right of keyboard kings.

First unforgettably recorded by him way back in 1969 (RCA—nla), Schumann's Kreisleriana shows him still more responsive to the "positively wild love in some of the movements" (the composer's words), still more aware of the music's startling strangeness, still more attentive to under parts and other hidden voices (not least in No. 1), still more anxious to enrich and intensify melody. There are passing roughnesses, exaggerations, and vagaries of tempo (the beautiful Eusebian No. 4 most notably lacks calm). Yet from first note to last he evokes a Schumann wholly possessed. Scriabin's D sharp minor Etude also shows how he can still kindle glowing embers into scorching flame. Both Scarlatti sonatas are done with exquisite delicacy, even if the B minor pathos of Kk87 finds an outlet in a Chopinesque soundworld. The two Liszt pieces (of which the Impromptu is a new addition to his record repertory) confirm that his finger dexterity and ear for sonority are legendary still. I was less convinced by his somewhat capriciously mercurial approach to the theme and variations of Schubert's B flat Impromptu. Even the Schubert/Tausig Marche militaire (for which Horowitz has provided a still more brilliant ending) has its moments of rhythmic archness. But what a comeback! I can't wait for the concerto album, the collection of Schumann, Chopin and Liszt fantasias, and most of all a recording of his own improvisations already taking shape in his mind. --- Joan Chissell, Gramophone [6/1986]

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01 Chopin Barcarolle in F-sharp major, Op.60
02 Chopin  Polonaise-Fantaisie in A
03 Chopin  Nocturne in E minor, Op.7
04 Chopin  Ballade No.1 in G minor
05 Schumann  Traumerei, Op.15 No.7
06 Moszkowski  Etincelles, Op.36
07 Chopin  Polonaise in A-flat major
08 Chopin Sonata 2, mvt 1
09 Chopin Sonata 2, mvt 2
10 Chopin Sonata 2, mvt 3
11 Chopin Sonata 2, mvt 4
12 Chopin Mazurka in C-sharp minor, Op.30 No.4
13 Chopin Mazurka in Am, Op. 17, No.4
14 Chopin Mazurka in B minor, Op.33 No.4

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