Vladimir Horowitz: Pitch-Perfect Piano
This virtuoso cultivated his individual technique and emotional expression to a remarkable level, earning him a reputation as the greatest pianist of the 20th century.
Although temperamental and demanding, Horowitz’s charm, elegance and perfectionism influenced contemporaries of his time and continues to do so to this day.
“It’s the silence that matters, not the applause. Anyone can have applause. But the silence, before and during the playing — that is everything.” — Vladimir Horowitz
Born in 1903 and already studying the piano with his mother from the age of 3, Horowitz developed a deep connection to the instrument, and was able to adapt and interpret works with dazzling ease. Although initially wanting to pursue a career as a composer, the Russian Revolution brought about a change in his personal circumstances and Vladimir Horowitz began to pursue a career as a concert pianist to support his family.
Horowitz started out with recitals in Berlin and with news of the new virtuoso spreading far and wide, he was suddenly in demand by every major European concert hall. He was even requested to play for royalty. Audiences were in awe.
In 1928, Horowitz first performed in America with the New York Philharmonic, under the conductor Sir Thomas Beecham, who also happened to be making his American debut. Horowitz’ fluency in the works of the great composers such as Chopin, Liszt, Schumann, Rachmaninoff and Scriabin impressed fellow pianists, and he raised the bar for all those musicians who followed him.
“He had more physical energy, more electricity, than any musician that came onto that platform. He was the Greta Garbo of the concert stage.” — Glenn Plaskin, Biographer
Horowitz attracted an adoring fanbase and as a bestselling artist throughout his career, he was decorated with a plethora of awards for his classical recordings.
Horowitz last performed for his captivated public in 1987. He passed away in his New York City home at the age of 85
Robert Schumann: Kinderszenen, Op. 15 (Vladimir Horowitz (piano), 1950)
Vladimir Horowitz was one of most important and most fascinating pianists of his time. He was often called ‘The Last Romantic’ due to his outstanding technical skills and the wide range of colours he produced on the piano. However, this moniker was mainly related to Horowitz’s fondness for romantic repertoire, especially the works of Chopin, Liszt, Schumann, Rachmaninoff and Scriabin.
Domenico Scarlatti: Piano Sonata in E, K. 531 (Vladimir Horowitz (piano), 1947)
Horowitz’s recordings of Scarlatti’s piano sonatas are regarded as reference recordings to this day.
The first work Horowitz played in concert after he left Russia was Tchaikovsky’s first piano concerto during a concert in Berlin, where he performed under the baton of Oskar Fried. This famous recording of Tchaikovsky’s concerto is conducted by Arturo Toscanini, Horowitz’s father-in-law. The musicians were good friends from their very first meeting.
Despite the fact that he did not adore Beethoven’s music, Horowitz occasionally played and recorded several of his sonatas. His interpretations of Beethoven’s music have a strong personal touch, which sometimes earned him harsh criticism.
Vladimir Horowitz: Carmen fantasy (Vladimir Horowitz (piano), 1957)
As he entered the music world, Horowitz wanted to become a composer rather than a pianist, and throughout his live he arranged and composed several pieces for his own use. His demanding ‘Carmen Fantasy’ is one of his most famous creations, and it is sometimes played by other virtuoso pianists as an encore at the end of a concert program.
Frédéric Chopin: Impromptu in A flat major, Op. 29 (Vladimir Horowitz (piano), 1951)
The music of Chopin was formed the basis in Horowitz’s repertory, and he was and is counted one of the best ever Chopin interpreters.
