HOROWITZ Return to Chicago

Return to Chicago

Works by
Frédéric Chopin · Franz Liszt
Wolfgang Amadeus Mozart
Franz Schubert · Robert Schumann
Moritz Moszkowski
Int. Release 13 Nov. 2015
2 CDs / Download
0289 479 4649 6

Lista de temas

CD 1: Return To Chicago

Domenico Scarlatti (1685 - 1757)
Wolfgang Amadeus Mozart (1756 - 1791)
Piano Sonata No. 10 in C Major, K. 330


Alexander Scriabin (1872 - 1915)
Vladimir Horowitz

Tiempo total de reproducción 42:47

CD 2: Return To Chicago

Robert Schumann (1810 - 1856)
Franz Liszt (1811 - 1886)
Années de pèlerinage: Deuxième année: Italie, S.161

Soirées de Vienne, S.427


Frédéric Chopin (1810 - 1849)
Robert Schumann (1810 - 1856)
Kinderszenen, Op. 15


Maurice Moritz Moszkowski (1854 - 1925)
Vladimir Horowitz

Vladimir Horowitz, Norman Pellegrini

Vladimir Horowitz, Thomas Willis

Tiempo total de reproducción 1:18:43

This is one of the year's major events for connoisseurs of the keyboard. The performances found Horowitz close to the peak of his late form, now caressing the keys, now burning them up, with his inimitable combination of acute lyrical sensitivity and titanic virtuosity.

[Scarlatti]: The "K. 380" asks for delicately martial figures in echo effects, which Horowitz neatly balances between mezzo-voce and piano dynamics. The purling legatos Horowitz invokes create a meditative intimacy of projection . . . [Mozart / Adagio in B minor]: a unity of concentrated passion . . . Horowitz concludes the Mozart group with his preferred 1783 "Sonata in C, K. 330," possibly in his most successful recorded rendition . . . Ardent, romantic yearning permeates the two Scriabin entries; but the chromatic flame that infiltrates the "d-sharp minor Etude" exacts a grip upon us long after the last chords . . . [Chopin / Scherzo in B minor]: the emotional dramatic shape and lyrical suasion [convince us completely] . . .

The two-disc Chicago set is a must-have for anyone with an even casual admiration for Horowitz . . . The Scarlatti "Sonata in E major K. 380" that opens the Chicago disc, full of tiny tempo variations that turn the music into something beyond itself, is a three-dimensional entity that dialogues with your own humanity.

. . . a fascinating document . . . [Horowitz's Scarlatti] combines lightness of action and the subtlest of pedalling: the sharp angles of K. 380 are preserved without a hint of aggression, while K. 135 is filled with a quiet playfulness, the brilliance almost understated . . . [Schumann's "Arabeske"] has a pearlescent beauty, a reactivity that gives new tints to the main theme each time it reappears. In Liszt's "Petrarch Sonnet No 104", too, there's an assurance to the way it unfolds that's utterly compelling, its dying moments truly moving . . . And the Sixth "Soirée de Vienne" is full of rapturous beauties (just sample the murmured filigree beginning at 3'59") . . . [Horowitz is in his element in Mozart's] D major Rondo, which glistens and glints with ever-changing hues. And he turns the first movement of the C major Sonata, K330, into a veritable opera in miniature. The Scriabin C sharp minor Etude, Op 2 No 1, is beautifully sung, while the Moszkowski "Etincelles" -- long a favourite encore -- has enormous spirit . . . With good sound and a fascinating booklet essay, this is another compelling addition to the vast Horowitz legacy.

This fly-on-the-wall glimpse of Horowitz live is both welcome and enjoyable . . . Over 40 minutes of interview material make a fascinating bonus . . . [this is a] front-row seat opportunity . . .

. . . [Horowitz is a very fine interpreter of the two "Mazurkas"] and the Mozart -- which includes the daunting B-minor "Adagio" and Sonata K330 . . . [the radio interviews with Horowitz] held me in thrall.

The Horowitz 2-CD set from DG is a must-have for Horowitz fans . . . [he] burst forth with playing that was unique in its power and intensity. In this live Chicago concert performance, Scriabin's Étude in D sharp minor Op. 8 No. 12 alone is worth the price of the album.

. . . there are flashes of pure electricity, as in the two popular Scriabin Études, where the "fortissimo" blast capping the one in D-sharp Minor is viscerally frightening . . . Certain pieces go beyond signature status to be enduring classics, such as the Schumann "Arabeske" . . . For me, his improvisatory passion in the Liszt "Sonetto 104 del Petrarca" soars far above the head of any rival. One could rhapsodize almost without end, noting his perfect instinct for the rhythm of a Chopin mazurka, the casual virtuosity in Liszt's fanciful elaboration of a simple Schubert waltz . . . Horowitz's scintillating precision and crystalline touch made it impossible to sentimentalize him . . . But there are other, better reasons to shed a tear over Horowitz's playing . . .

What an old charmer Horowitz could be! . . . it's the conversations that held me in thrall.

No one could imitate anything Horowitz did, and that's particularly true of his Scarlatti, which combines lightness of action and the subtlest of pedalling . . . [Schumann's "Arabeske"] has a pearlescent beauty, a reactivity that gives new tints to the main theme each time it reappears . . . this is another compelling addition to the vast Horowitz legacy.

Auch mit 83 verfügte Horowitz noch über eine pianistische Pranke, wie er im Petrarca-Sonett 104 aus Liszts "Années de Pèlerinage" zeigt. Doch mehr noch sind es die versonnen-poetischen Töne im selben Stück, die anrühren . . . Elegant gespielt sind zwei Scarlatti-Sonaten, zwei Chopin-Mazurken und besonders zwei Skrjabin-Etüden, mit technischen Raffinessen gespickt Liszts "Soirée de Vienne Nr. 6".

Was am meisten auffällt, ist die bei aller Bewegtheit erreichte Gelassenheit - eine lyrische Grundgestaltung, die natürlich nicht zuletzt mit seinem vielgerühmten Legato zusammenhängt.

Auch heute noch beeindruckt diese Aufnahme: mit künstlerischer Präsenz, mit klanglicher Rafinesse, mit einem Flügel, der zu singen beginnt unter den Händen des Pianisten. Und gerade mit dem Abstand von heute ist es auch fesselnd, noch einmal zu erleben, wie sehr Horowitz der Musik seinen persönlichen Stempel aufdrückt. Viele seiner Zuhörer hat er damit fürs Leben geprägt.

. . . nouveau témoin de l'art à la fois touchant et fragile d'Horowitz en son automne . . . avec une extension bienvenue de la partie Mozart, qui ajoute à la "Sonate KV 330" un diptyque très horowitzien et plein de contrastes . . . la soirée avait de l'allure . . . A quatre-vingt-trois ans, Horowitz n'a plus rien à prouver et se livre plus volontiers dans un programme qui favorise les demi-teintes aux éclats de voix . . . toujours cette candeur rayonnante propre au dernier Horowitz.

. . . quelle lecon de piano et de musique! . . . Les deux sonates de Scarlatti sont ciselées avec la perfection inimitable du maitre, les deux études de Scriabine éblouissantes d'envolée et de grandeur . . . et "l'Arabeske" de Schumann comme la sonate de Mozart admirables d'intériorité . . . [les] soirées de Vienne (Liszt/Schubert) somptueuses et d'un chic absolu . . . [les bis] concluent en pirouette ce document sur un pianiste décidément inimitable, dans son génie digital comme dans ses idiosyncrasies déroutantes sinon exaspérantes, mais avec quelle classe! . . . Si vous ne connaissez pas Horowitz, cet album est pour vous; et si vous le connaissez, encore plus!

  • Vladimir Horowitz - Return to Chicago (Trailer)

    On 26 October 1986 Vladimir Horowitz gave his final recital in Chicago’s Orchestra Hall. This is its world-premiere release on CD – Deutsche Grammophon are privileged to be able to release one of his late concerts, from Chicago in 1986, where we hear him in his element, before a live audience.