Vladimir Horowitz, G. Szell '52 Ciaikovsky piano conc. (4/4)

Vladimir Horowitz, piano
New York Philharmonic Orchestra
George Szell
New York 4.5.1952
Allegro con fuoco

Category:

Music

Tags:

• classical
• vladimir
• horowitz
• george
• szell
• new
• york
• philharmonic
• orchestra
• ciaikovsky
• piano
• concerto

[Caocao8888]

@kasyapa One of H.'s best gifts was his ability to take a very controlled tempo that was never really that fast (except for his octaves), yet that always sounded fast as the wind because of the incredible clarity. This is the only recording I have heard that sounds so rushed and out of control. No rubato at the end of the octaves, and a falling apart of the ensemble at the ending are out of character. Speed at the expense of musicality is not what I associate with Horowitz's playing.

[kasyapa]

@Caocao8888 it's him. why do you not think so?

[Caocao8888]

This is a VH recording? IMHO, I do not think so...

[cattleman6420012000]

Fabulous performance. Horowitz was so special. This is truly magnificent.

[4785689]

January 12, 1953: Carnegie Hall, New York City, New York (Live)

[4785689]

this was 1953

[ccccony]

@shusarik Agreed - If you listen to the Toscanini recording you will hear something similar, except successful in that he pulled off the ending on octave higher than the score says and managed not to screw the orchestra.

[shusarik]

I want to thank the person who posted this. It would be about a year later that Horowitz gave the incredible 25th anniversary solo recital and retired from the stage. Horowitz showed his peak virtuosity at this period. The first two movements are wonderful and I agree with the assesment of "gtimny" about the ending. Do you think it's possible that he did it on purpose--a little like one of Paganini's stage tricks--in order to get the newpapers talking?

[gtimny]

The untogether ending is Horowitz's fault - he flubs the upward scale in interocking chromatic octaves after about the first 12 notes, tries to skip ahead and when he arrives early near the top, slows down and plays up to the F then skips to B-flat to try to finish together. God Himself couldn't follow that, and Szell must have been ready to kill him. Sounds like Horowitz was too embarrassed to look at him for the final chords. Still an amazing, exciting and yes musical performance from both.

[starwarsfanboy]

I find the third movement of this concerto to be most telling when it comes to style...Horowitz recorded this, what, three times or more? It's a little different every time....and I think this version is the most powerful. Starting from about 5:00, you can hear how powerful the orchestra really is. And I could swear something's wrong from about 5:03-5:05, but it only makes the piece sound all the more triumphant. I love this interpretation - and no one, not even Cliburn, could ever replicate it.