Vladimir Horowitz - Horowitz in Hamburg: The Last Concert
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Music CD Cover
Artist: Vladimir HorowitzPerformer: Vladimir Horowitz
Composer: Wolfgang Amadeus Mozart
Composer: Franz Liszt
Composer: Robert Schumann
Composer: Frederic Chopin
Composer: Moritz Moszkowski
Composer: Franz Schubert
Edition: Music CD
Audio: English (Unknown)
Format: Live
CD Release Date: 2008-07-08
Music Label: Deutsche Grammophon
Soundtracks:
- Allegro
- 1. Allegro
- 2. Andante cantabile
- 3. Allegretto grazioso
- No.6 in A minor
- 1. Von fremden Ländern und Menschen
- 2. Kuriose Geschichte
- 3. Hasche-Mann
- 4. Bittendes Kind
- 5. Glückes genug
- 6. Wichtige Begebenheit
- 7. Träumerei
- 8. Am Kamin
- 9. Ritter vom Steckenpferd
- 10. Fast zu ernst
- 11. Fürchtenmachen
- 12. Kind im Einschlummern
- 13. Der Dichter spricht
- Mesto
- Maestoso
- No.3 in F minor (Allegro moderato)
- Allegro scherzando
Free Music Notes for Horowitz in Hamburg: The Last Concert
Free Music Review: THE LONG GOODBYE
Hit: 5 Stars
This disc is not just the record of a recital, it is the record of a major musical event. Horowitz did not intend this concert to be his last, but his last it proved to be, the final curtain on an amazing career. He was something special, and for reasons that were entirely musical, but I'm not sure that the descriptions I have read of his playing quite give the true flavour of it. In terms of sheer virtuosity he was certainly as astonishing as we are often told, but even at his peak he was not actually quite the equal of Cziffra in that respect. Late in his career he compared himself modestly as a technician with a number of younger keyboard tigers, saying that they could play more accurately but ten minutes of listening to them was enough. `At least I sound different' said he. Indeed. He did it his way.
In his last concert he is still sounding different from anyone else, although still recognisably the same Horowitz who had left audiences dumbfounded half a century earlier. He starts with two works by Mozart, and I love his Mozart. The back of the disc box calls Mozart `his great new love', but I'd say that's not really accurate. Right from the start of his career Horowitz's recitals used to feature sonatas by Mozart and Haydn, and that was not something that Rachmaninov, say, did. Horowitz shows any amount of delicacy here, but it was part of his view of the composer that the works benefited from the extra resources of the mighty modern grand piano at appropriate points. I support him wholeheartedly in this view. It reminds me of the saying of Richard Strauss `Mozart is so beautiful that people forget he is powerful.' I only wish the liner note had taken a moment or two out from eulogising the player to tell us something about an extraordinary feature of the finale of the sonata. This comes to a pause on a 6/4 chord as classical concertos do by way of introducing the cadenza, and the music that follows is unmistakably a cadenza in style. Did Mozart write this? If not who did?
Schumann's Kinderszenen was a long-time favourite with Horowitz, and when you listen to Trauemerei or Der Dichter spricht you will, I'm sure, understand why many of us felt that run-of-the-mill oohs and ahs from reviewers about Horowitz's finger-technique were obscuring something at least as important, namely his exquisite lyrical manner. On the same lines, you will hear some fine old virtuosity in the Schubert/Liszt number, but some touching tenderness in the little encore where Schubert is allowed to speak and sing for himself. The other encore is Moszkowski's Etincelles, and the old showman still knows how to bring the house down.
There are two Chopin numbers, one the B minor mazurka. I also have this from Michelangeli, and the two giants could not be more unlike in their interpretations. From Horowitz, here as in the great warhorse the A flat polonaise, you will hear effects of rubato and of touch that would not pass for politically correct nowadays. So much for nowadays, say I. Horowitz sounds different, and all too many people sound much the same nowadays.
He meant to come back, but providence decided otherwise. He was of my parents' generation, but he was still a legend to my own. The encroachment of oblivion is inevitable, and it is only healthy that a new generation of music lovers should not take their seniors' enthusiasms as some infallible guide to their own taste. Myself, as soon as I hear the little upwards run near the start of the Mozart rondo I feel the special tingle-factor that comes from the unique style of Horowitz. Gone from us since this concert, but immortal all the same.
Horowitz in Hamburg: The Last Concert Poster
First-ever release in any format of this momentous musical event! In 1987, Vladimir Horowitz, the last of the keyboard titans of the 20th century, made a triumphant European tour, giving what turned out to be his final series of performances before an adoring public. The very last of these concerts, on June 21 in Hamburg, was recorded by the North German Radio. Apart from a single encore, no part of this valedictory concert has ever been issued before. This recording constitutes a unique souvenir of Horowitz's final public appearance, where the sense of occasion and immediacy is palpable. Horowitz included three signature works on his final program: Schumann's enchanting Scenes from Childhood (source of one of his favorite encores, the immortal Träumerei), Chopin's monumental "Heroic" Polonaise, and one of his most glittering encores, Moszkowski's Étincelles. Over a career lasting nearly seven decades, Horowitz's recordings have sold over three million units and won 25 Grammy® Awards (six for his Deutsche Grammophon titles)Classical Music CDs
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