"Horowitz's personal stamp informs every bar of Mozart's A major K. 488 concerto, with Carlo Maria Giulini conducting, from his brisk, Siciliano tempo in the slow movement to the inclusion of Busoni's rarely heard first-movement cadenza." -- Jed Distler, ClassicsToday.com "Horowitz's personal stamp informs every bar of Mozart's A major K. 488 concerto, with Carlo Maria Giulini conducting, from his brisk, Siciliano tempo in the slow movement to the inclusion of Busoni's rarely heard first-movement cadenza." -- Jed Distler, ClassicsToday.com Read less
Works on This Recording
Concerto for Piano no 23 in A major, K 488by Wolfgang Amadeus Mozart Performer:
Vladimir Horowitz (Piano)
Carlo Maria Giulini
Milan Teatro alla Scala Orchestra
Period: Classical Written: 1786; Vienna, Austria Date of Recording: 03/1987 Venue: Abanella Studio, Milan, Italy Length: 23 Minutes 47 Secs. Notes: Cadenza: Ferruccio Busoni
Horowitz Plays MozartMarch 6, 2015By Marcia P. (Ellicott City, MD)See All My Reviews"Another to bring beautiful music into my home. I cannot afford to attend concerts, but this and all the cd's I get at ARKIV bring the concert to me. What could be better?"Report Abuse
Horowitz's Delightful MozartDecember 23, 2011By T. Drake (South Euclid, OH)See All My Reviews"This is one of the most delightful and musically balanced Horowitz recordings I have ever heard. Gone is the demonic quality of earlier years, replaced with a new simplicity. Horowitz studied K. 488 in the 1930s with his father in law, Arturo Toscanini - and there is something of the legendary Italian's musicality in this 1987 recording. Tempos are brisk without being rushed; phrasing is business like without being cold. Perhaps this is why Horowitz chose another Italian, Carlo Maria Giulini as conductor in this concerto. Frankly, this is very much Horowitz's record - the piano is very predominant in the concerto. That's just fine with me, because the small orchestra is nondescript and leaves something to be desired tonally. The sound in the Concerto is synthetic and dry.
It sounds as if the microphones have been pulled back for the Sonata. K. 333 happens to be my favorite Mozart Sonata (I remember being moved the first time I heard it, back in 1979), and this is my favorite recording of it. Purists may quibble with Horowitz's rather unorthodox approach to ornamentation. But the phrasing is so natural, tempos flexible without being anarchic, the colors so impressionistically beautiful that I cannot imagine Mozart being anything other than delighted with this performance. By the way, Horowitz observes all the repeats here, which he did not do in his public performances from 1987 or in 1951.
Aside from the orchestral contribution in the concerto, my only complaint is that this CD could have been more generous in its timing - just over 50 minutes. "Report Abuse