“Après un rêve” is an ode to the French Belle Époque repertoire, depicting the beauty of dreams and the night. The album is an opportunity to hear and perhaps discover rarely played / rarely recorded wonderful works (Chaminade Nocturne, Duparc Aux étoiles, Poulenc Les soirées de Nazelles), alongside central pillars of the repertoire, and includes a world premiere of Despax’s arrangement of Après un rêve. The album is attributed to his grandfather, Jacques Charpentreau, a French poet who adored this repertoire and frequently drew inspiration from the night in his works. Despax has curated some of his poetry, as well as works by other poets he admired to complement this music, taking the listener on an immersive poetic and musical journey through this noctur- nal landscape.

REVIEW:

Despax has recorded Bach, Brahms, Chopin, but the works here particularly suit his sensibility. In Maurice Ravel’s haunting masterpiece Gaspard de la Nuit, he masters the ferocious challenges with ease, delicacy, strength.

-- The Guardian (UK)

The authentic Horowitz magic revived.

Pianophiles who share an affinity for the legacy of Vladimir Horowitz will find this latest Sony release hard to resist. For the younger generation, this is one of those recitals the “Horowitz sensation” can still be fully appreciated as if it took place just yesterday. Following the release of Deutsche Grammophon’s ‘Horowitz in Hamburg - the Last Concert’ (21 June 1987), Sony has unveiled this legendary Berlin Concert from its archive. It takes us back a year before the Hamburg concert. Captured live and released on digital media for the first time, this is a recital that has both historical and musical values.

Horowitz made his solo début in the Atlantic Hotel in Hamburg on 19 January 1926. According to historical accounts, this event was nothing short of spectacular. The featured programme included Liszt’s B Minor Sonata, the Figaro-Fantasia, plus the Barcarolle and a number of Chopin Études and Mazurkas. Between this time until the early part of the1930s, Horowitz gave performances in Hamburg and Berlin. These included the Second Piano Concertos of both Brahms and Liszt (with Wilhelm Furtwängler and the Berlin Philharmonic), Tchaikovsky’s Piano Concerto No.1 (under Oskar Fried, and later, with Eugen Pabst, also with the BPO). He made his only surviving gramophone recording from that era in Berlin on 9 June 1931 at the Philharmonie’s Beethovensaal, with Rachmaninoff’s Prelude in G Minor, Op.23 No.5. Anti-Semitic sentiment and political unrest limited Horowitz’s activities in Germany. His absence was further compounded by his notorious “withdrawal” and “returns” from the public concert-stage during the ensuing years. As a result, Horowitz did not again tread on German soil for 54 years until 1986. Three intriguing accounts by Dr. Norbert Ely, Jürgen Kesting, and Dr.Elmar Weingarten in the accompanying liner-notes recollect the experiences each of these writers had with Horowitz, focusing on how the fulfilment of the Berlin and Hamburg recitals in the latter years of the pianist’s life came to be. It was Dr. Weingarten’s first-hand memories as the Head of the music department of the Berlin Festival (1985-1990) that provided the most vivid account. He recalled how Horowitz spontaneously decided to offer an additional concert to the Berlin public at very short notice, by scribbling on the ‘dining menu of Hotel Kempinski’ the programme of what ultimately constituted his recital on 24 May 1986. Perhaps this later recital will be the topic of a future release from Sony Music, but in the present recording, listeners witness the reunion of a lost bond - the one between Horowitz and his German audience - a bond that had been severed for more than 54 years.

The first sounds on the first disc are of the audience applauding and applauding as Horowitz enters the Grosser Saal of the Berlin Philharmonie. Every recital since the pianist’s return to public performance in 1985 was a world wonder, synonymous with the acclaim received by pop-stars.

Then follows a series of three Sonatas from Scarlatti, a composer to whose works Horowitz brought ample delight and a fabled delicacy of colour on his infamous Steinway D instrument. Horowitz was however at his ideal best with the works of the Romantic composers, particularly those of Schumann, Liszt and Chopin. Kreisleriana evinces finesse and playful elegance - allusions to the world of E.T.A. Hoffmann. This masterly interpretation is both pliable and alive. The lilting dance at the centre of Liszt’s Soirée de Vienne No.6 was a favourite of Horowitz’s. Her it is played with virtuosic delight that even at the age of 83 shows that he remained in command of his fingers. This combines with a radiant and complementary youthfulness. The Sonetto del Petrarca 104 is delivered with a myriad colours and such intimacy that the fading final notes literally took the listeners’ breaths away. It was an experience that seemed almost spiritual.

CD 2 opens with groups of Russian pieces, two each of the Preludes of Rachmaninoff and Études of Scriabin. A glimpse of Horowitz’s love for the Polish dances was represented in two of Chopin’s Mazurkas preparing the ground for an elegantly majestic account of the A Flat Polonaise with its vociferous moments during the notorious left-hand octaves. Unexpectedly, the most impressive readings were saved for the very end of the recital in two of the three encores. These pieces were by far his most beloved: Schumann’s Träumerei and Moszkowski’s Etincelles. In the Träumerei, one can hear the poetic delicacy that washed away all technical impurities, while in the Etincelles, the delicate passages were equipped with a buoyancy and a tenderness that one might not have envisioned possible from the pianoforte.

Those who were able to afford the unprecedented ticket price of more than 300 marks apiece (or the discounted student price at 25 marks) to attend this recital must certainly have their own fantastic recollections to share, but to reiterate one such example from Dr. Norbert Ely who was the radio presenter during this Berlin concert, he described the recital experience as one that ‘revealed a lot of his [Horowitz’s] soul, exposing the inner conflicts of a century. One could hear that an era was coming to an end.’ The authentic Horowitz magic has been revived thanks to Sony who have captured a musician whose artistry was mellowed by age and experience.

-- Patrick P.L. Lam, MusicWeb International

VLADIMIR HOROWITZ AT CARNEGIE HALL—THE PRIVATE COLLECTION • Vladimir Horowitz (pn) • RCA 754604, mono (50:10) Live: New York 1945–1950


SCHUMANN Phantasie in C. BALAKIREV Oriental Fantasy, “ Islamey.” CHOPIN Barcarolle. LISZT (arr. Horowitz) Légendes: St. Francis de Paul Walks on Water


This latest treasure trove from the recorded legacy of Vladimir Horowitz, all previously unreleased recordings, is of performances recorded live in concert at Carnegie Hall between 1945 and 1950. (A similar collection of recorded performances, with different repertoire, was released by RCA in the mid 1990s.) The present discs were donated to the Yale Music Library by Horowitz and his wife, along with a wide variety of other valuable archival materials such as concert programs, scores, correspondence, and the like. The interesting background to this CD is that Horowitz hired a private company to record his Carnegie Hall concerts during those five years, apparently for his own use, and would listen to them on occasion. Eventually, they were forgotten, and given to Yale by Horowitz as part of the archive. The restoration of most of the originals has been remarkably successful.


The music world is a great deal richer for having access now to this collection. While some of the works on this disc were favorites of Horowitz, and performed and recorded on other occasions, there are two indisputably important and unique additions here: arrangements by Horowitz of Liszt’s “St. Francis de Paul Walks on Water” from Légendes , and Balakirev’s fabled “Islamey.” Although he performed them in concert, they were never recorded for commercial release. (Actually Horowitz performed “Islamey” during only one concert season, 1950, and the present performance dates from that time.) As most pianists are well aware, “Islamey” is considered one of the most technically demanding works in the keyboard repertoire—in other words, a perfect vehicle for Horowitz. Both the Liszt and Balakirev are absolutely stunning; the sheer technique involved—the tricky fast repeated notes, the cascades of runs and other fast passages, the accuracy of leaps, the control of dynamics—reveal Horowitz at the very peak of his career, demonstrating his absolute supremacy over the keyboard. The same must be said for his beautiful performance of Chopin’s Barcarolle, in which the pianist’s legendary singing right hand and judicious use of rubato create a haunting landscape.


The Schumann Phantasie was one of Horowitz’s favorite works; it was on the program at his 1965 Carnegie Hall “comeback” concert following a 12-year absence from the concert stage, and was issued by Columbia shortly after. The Phantasie heard here was recorded in April 1946, unfortunately accompanied by a good bit of noise from the original lacquer surfaces. Horowitz’s treatment of the first movement is truly like a fantasy, sounding dreamlike and spontaneous. It is a beautiful performance, even though in the treacherous coda of the second movement Horowitz seems to succumb to an attack of nerves, begins to rush, and actually loses it briefly before the final measures, with a memory slip and some wrong notes. But magically, the worst over, he plays the last movement with transfixing tenderness and beauty of sound.


This CD may constitute the final hidden treasures from Horowitz’s recorded legacy; but even if some new treasures are discovered, this one is a must for serious collectors.


FANFARE: Susan Kagan


This is prime Horowitz on staggering, fearless form..."

The second of three releases culled from Vladimir Horowitz's mid-1940s/early-1950s Carnegie Hall recitals offers alternative views of two works long familiar from his commercial discography, along with two showpieces otherwise unavailable in the Horowitz canon. The Schumann Fantasy is a classic example of Horowitz's genius for transforming the composer's busy, often thick textures into lean, translucent, and provocatively contoured sonorities. However, an unsettled quality emerges from the pianist's small yet persistent speed-ups and slow-downs within phrases that he would shape more simply in his 1965 comeback recital. Listeners following the score also will notice booming added octaves, plus a deletion of 19 measures from the second movement that's clearly intentional--not a memory lapse. Horowitz's similarly affetuoso approach to the Chopin Barcarolle flows better here than in his 1957 studio recording, notwithstanding the overly aggressive and tight-fisted coda.

Listeners familiar with Liszt's St. François de Paule marchant sur les flots will notice quite a few textual emendations that ultimately draw more attention to the pianist than the composer. That said, this is prime Horowitz on staggering, fearless form, as he also is throughout Balakirev's Islamey. Simon Barere may be unmatched for sheer speed, yet Horowitz's virtuosity is more expressive in its focused articulation, motoric momentum, and shrewd pedaling. He also omits a few bars here and there. Although words cannot adequately mirror the Horowitz experience, David Dubal's vibrant, refreshingly frank booklet notes come pretty darn close.

--Jed Distler, ClassicsToday.com

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Also Available: Volume 1 - Vladimir Horowitz At Carnegie Hall - The Private Collection - Music of Mussorgsky & Liszt.

This second release from the Yale archive recordings captures Vladimir Horowitz in his golden prime, playing his signature repertoire in concert at Carnegie Hall, where he celebrated the milestones in his career. Horowitz employed an engineer to make 78-rpm recordings of his Carnegie Hall concerts in this period, and he used them to review and judge his performances. Most of these mono recordings were originally contained on 12 and 16-inch acetate discs. They have been impeccably mastered, with the sound restored, from new transfers made in the Yale archives. Significant press accompanied the original announcement of the donation of these recordings to Yale, where Horowitz performed often through the years and was assistant fellow of Silliman College.

The second Private Collection release includes four works that take the listener deep into the heart of the Romantic age – Schumann’s Fantasy in C Major, Op. 17; Chopin’s lilting Barcarolle, Op. 60; Liszt’s evocative musical meditation Legende No. 2 – St. Francis de Paule Walking on the Waves; and one of the most demanding pieces ever written for solo piano, Russian composer Mily Balakirev’s breathtaking steeplechase Islamey.

- Carnegie Hall Presents Series from Sony Masterworks

Composed of live and studio recordings from the 1960s and '70s, this compilation of Horowitz favorites proves that simple, poetic pieces can be very powerful. Loved by his audiences, Horowitz considered these relatively short works to be rich, crystalline, and full of feeling, each able to be carved in a very personal way. Arranged arbitrarily without regard to contrast of tempo, or stylistic unity, the program resembles that of encore pieces performed at the artist's whim, creating the illusion of spontaneity. The record's variety nonetheless showcases Horowitz's multifaceted artistry, displaying his crisp touch and rock-steady rhythm.
The disc contains works from Schubert, Chopin, Scarlatti, and Debussy, to name a few, all extremely romantic in nature, somewhat improvisatory, and performed with a passion that seethed from the pianist's very soul. The album's coup de grace, Schumann's "Traumerei" is so dreamy it almost drifts away before the artist's fingers can play the last dangling keystrokes. Perhaps closest to his heart, these colorful works come alive through accordance with Horowitz's own consciousness. It is from his passion as a pianist that this music is brought so intensely to life.

That Vladimir Horowitz begins this 1981 recital with six sonatas by Domenico Scarlatti seems to be much more than the default of chronological programming. At this late stage in his career, before an outsized audience, the "last Romantic" appears before an adoring public with clean, unfussy, and elegantly shaped interpretations of Baroque pieces conceived for the harpsichord.
He then leaps to Paris of the 1840s with the Chopin Ballade in F minor, thereby linking Scarlatti to the contrapuntal richness of late Chopin. Chopin went against the grain of public opinion in his championing of Scarlatti--a fact that did not escape Horowitz's attention. Indeed, Horowitz's balanced and richly textured reading of the Ballade compels the listener to hear it through the filter of Scarlatti.
This Scarlatti-Chopin connection seems to dictate the remainder of the recital, from the Liszt Ballade to the Chopin Waltz and the Rachmaninov Prelude. With the Rachmaninov, Horowitz is in Russia of the 20th century, and his idiomatic command of this music, from its fiery martial theme to its luxurious cantilena, and his flawless technique remain unrivalled.

This recording received a 1998 "Critic's Choice" award from Gramophone magazine.

"Yes, the pundits were right. This is the Rachmaninov Third to end all Rachmaninov Thirds, a performance of such super-human pianistic aplomb, pace and virtuosity that it makes all comparisons, save with Horowitz himself...a study in irrelevance...The ultimate wizard of the keyboard is in expansive mood in the Tchaikovsky...The perfomance ends in what I can only describe as a scream of octaves and an outburst by an audience driven near to hysteria." - Gramophone

Historic record of the year. (1998) - Classic CD - (Recordings from 1940 & 1941.)

Vladimir Horowitz's concerts are the stuff of legends. An excellent showman in addition to being one of the greatest pianists of all time, he always had an answer to the applause and requests for encores. ENCORES is a collection of some of the pieces he prepared for such occasions.
These selections include some of more crowd-pleasing pieces from the classical repertoire, five of which were transcribed for piano by Horowitz himself. The inclusion of "Danse macabre" and "Wedding March and Variations" illustrate his popular approach to encores. His gift for dramatic flourish is particularly evident in the tracks recorded in concert. Horowitz had an uncanny knack for playing off of an audience while performing even the most technically complex pieces. Concluding with his transcription of John Philip Sousa's "Stars and Stripes Forever," this album is a tribute to one of the pianists--and showmen--of the century.