Vladimir Horowitz - The Great Comeback

I’ve just received this beautifully designed Sony book + CDs. I will come back with a more detailed review once I have listened/studied each CD, but the articles alone would already be a good reason to purchase this collection of Horowitz’s rehearsals and performances. I have found interesting facts especially Re Horowitz’s depression and first retirement) that are can't be learnt from any of the biographies currently available. Granted, we already know some of it (for sure May 9, 1965 - in both the doctored and unedited releases), but hearing Horowitz improvising and talking to Tom Frost or Abram Chasins will certainly interest those who are familiar with the pianist’ s entourage at the time. It’s almost like being present. This is certainly a most enjoyable set and I can see myself listening to all the takes more than once (unlike with the Gould 1955 complete set of the Goldberg).Perhaps Sony could have considered a slipcase for further protection and added luxury and, as they did for Gould's Goldberg Variations, also provide an 180 grams audiophile reissue of the vinyl original album: that would have been the cherry on the cake. My advice is to get hold of this before it becomes rare (I regret not buying Horowitz live at Carnegie Hall box, which is now prohibitively expensive).

Entrate in teatro sedetevi con circospezione e ascoltate.Queste prove esecutive sono fantastiche altri tempi altri mondi altre menti.Noi perché ci rivolgiamo al passato ? .Perché il presente è scadente non ci emoziona se non in alcuni interpreti.Horowitz una dimensione unica nel suonare,e da queste registrazioni si vede si sente la passione.La musica come vita da sentire e risentire.Io avrei comprato il prodotto anche solo per il libro meraviglioso, foto fantastiche visi di chi entra in teatro che raccontano la passione di chi vuole ascoltare musica.Entrate dunque e sedetevi comodi

Ich bin kein Freund von Horowitz; ich stehe dem Starkult, der seine Person umgibt, kritisch gegenüber. Er ist einer der großen Klaviervirtuosen des 20. Jahrhunderts. Das zu bezweifeln wäre Torheit. Aber er ist nicht DER Pianist des 20. Jahrhunderts. Solche Kategorien und Denkmuster sind noch aus dem 19. Jahrhundert, wo der Starkult um bestimmte Virtuosen eben zur "Romantik" gehörte. Ein Horowitz, ein Richter, ein Michelangeli - Könner auf diesem Niveau noch in eine Reihenfolge, in eine Rangfolge zu stellen ist absurd. Wie könnte man sagen Bach ist größer als Händel, Mozart größer als Haydn, Brahms größer als Bruckner? Es ist einfach unsinnig. Parolen für ein Publikum, das offensichtlich so etwas braucht.Aber: Für jeden, der das Klavierspiel liebt, für jeden der alles um das Klavier herum liebt ist die CD-Kassette ein absolutes Muss. Eine Fundgrube an Material. Eine Lust zu verfolgen wie Horowitz in Fahrt kommt und sein Genie entfaltet. Und das zu diesem Preis! Das Begleitbuch ist verschwenderisch aufbereitet, die CD's sind in diesem Buch eingebettet. Jeder, der das Klavierspielen erlernen möchte, kann es bei Übung zu einem guten technischen Niveau bringen, Jeder, der es möchte, kann ein breites und tiefes musikalisches Verständnis erwerben. Und nun kommt das für mich so besondere ins Spiel: Es gibt zehntausende von technischen perfekten Pianisten auf der Welt. Aber das Magische, die letzten 2% auf dem Weg zum begnadeten Klavierspiel, das, was einen Horowitz, einen Michelangeli und einen Richter von Klavierakrobaten wie Lang Lang unterscheidet, ist dieses sprachlich nicht zu fassende aber für jeden Kenner offensichtlich Numinose. Für mich ist das erfahrbar, wenn Horowitz Scarlatti spielt. Dann ist etwas in dieser Virtuosität wo es mir immer erscheint, wie wenn hier Gott direkt durch einen Menschen wirkt. DAS ist für mich eine großartige Erfahrung. Ein wundervolles ästhetisches Vergnügen für jeden, der das Klavierspiel liebt.

This is the second collection of Horowitz I've bought this year, after the Sony Unreleased Live Recordings box (reviewed elsewhere). This collection focuses on the recordings made leading up to Horowitz' return in 1965. The presentation is excellent, with a hard-bound book (about the size of an LP) with eight CDs tucked in the first pages and seven more in the last pages, for a total of 15 CDs. The rest of the book is a well-written look at the artist and his career as well as the hype surrounding this return to live concerts.This isn't a collection of 15 CDs of different piano music recorded by Horowitz, but a set of recordings made in the lead-up to the concerts. There's a lot of repeated material on these discs, showing Horowitz working through his interpretations of many works (which is fascinating in its own right), but those expecting a mass of different music may be disappointed. Eight of the CDs are from rehearsals, two discs are interviews with Horowitz, and the rest of concert recordings.There's two ways I see to treat this set: as a set of concerts featuring one of the greatest pianists of the century, or as a historical document surrounding his return to concerts and the analysis of the music therein. Either way, this is an excellent collection of music, and hearing the rehearsals through to the concert performance of some of these works is a lesson in the subtleties of music playing. It's a fascinating look, especially as you hear Horowitz make small changes that bear significant repercussions in the live concert.For Horowitz fans, this is a must-have, as it is for piano music lovers. Even for those who are not huge fans of the artist or his piano music, this is a lovely collection of book and CDs that can keep you interested across all the CDs. For the cost, you can treat the set as concert performances with bonus rehearsal content thrown in. An excellent set!

I just finished a marathon listening session for this new set. While I don't really disagree with anything Hank Drake has written, I did want to add some miscellaneous comments.1. I think this set is of great value in contributing to our understanding of Vladimir Horowitz, both his playing and how he worked through interpretive and technical challenges for concerts and recordings. Also how very different his playing the same piece could be, depending on his mood and the circumstances. For example: Horowitz's performance of the Bach-Busoni Toccata, Adagio and Fugue in C at the Comeback concert has long been among my favorites of his recordings, particularly the stunning Fugue. But hearing Horowitz play this piece in an (almost) empty hall the previous January is a fascinating and wonderful experience. His playing is much more relaxed (obviously no clinker in the opening octaves, although I must confess I missed that!) and lyrical, even intimate, and there were times when I was moved to tears by his playing. His second performance of this piece on the set (CD 4), at the April 7 rehearsal, is closer to the concert performance, but still strikingly different in some respects (again more relaxed, less tense). And there is a January performance of the Chopin F-minor Nocturne, Op. 55.1, of such quiet tenderness, at times barely audible, and (this word again) intimacy that it is almost unbearable. The wonderful thing about these rehearsal recordings is that you really feel that Horowitz is playing only for himself, a quiet communion between him and his piano, and baring his soul in the process. This doesn't make these rehearsal/tryout performances "better" than his performance recordings, just different. The Comeback concert Bach, for example, has a tension and urgency that is thrilling. But the three performances on this disc are quite different from each other in important ways.2. As far as I can tell, the CDs of the Comeback concert concert are the same as Columbia/Sony has previously released. My only complaint is that the Comeback concert doesn't include more applause to give a truly documentary sense of the occasion. The album notes say that the watchwords for this edition were, "Document how it was." But they didn't follow that adage here. I want to hear the prolonged ovation Horowitz received the start of the concert, for a greater sense of "I am there." Without this, the recording does not "document how it was." Maybe all the applause and ovations on the original tapes has been cut and lost. If so, a pity; if not, a pity that Sony did not give us more. We ARE given more, much more, on the CDs of the April 17, 1966 concert, which is presented complete. (Previous releases of the 1966 concerts on LP and CD combined selections from the April 17, Nov. 27 and Dec. 10 concerts and omitted a great deal from all three.)3. One can't help but wish we were given either of the complete 1966 concerts of Nov. 27 and Dec. 10 instead of the tiresome Chasins-Horowitz interview which is not only available on youtube, but Chasins is far more concerned with what HE has to say than with letting Horowitz speak.4. I think the huge book-like presentation package is a mixed bag. I liked all three of the essays (which are presented in three languages). The CD track listings are detailed and helpful, as are the transcriptions of the rehearsal/recording conversations (by the Horowitzes in three languages!). Less impressive are the photos, a great many of which just show crowds milling around the 56th street entrance to CH; others are unremarkable photos of Horowitz at the piano, most of which look alike. While I suppose it is nice to have the Columbia recording notes from the sessions, they are not particularly interesting or informative. Finally, the CD designs are indescribably tacky, garish and ugly; the Horowitzes would have been horrified.Anyway, I am delighted to add this unique set to my Horowitz collection. And while I share Mr. Drake's sentiments about releasing the complete concert recordings at Yale, I'm not going to let that dampen my enthusiasm for this wonderful new set. Thank you, Sony.

Único y genial.