This is an extremely famous recording by Vladimir Horowitz who brings out the tenderness and madness of his subject, Schumann being one of his favourite composers. In here we can hear Schumann remembering his happy childhood, yearning for love, and aching for a peace away from the torment of his mind.
Vladimir Horowitz – The Complete Original Jacket Collection is a 70 CD boxed set featuring most of the recordings of the pianist Vladimir Horowitz. The collection contains recordings from 1928 to his final recording session just four days before his death in 1989. Horowitz's recordings for RCA Red Seal and Columbia Masterworks/Sony Classical are included in the set. Recordings that Horowitz made for RCA's European affiliate, HMV, are not included. Nor are the recordings he made with Deutsche Grammophon from 1985-1989. It is one of the largest issues in the Original Jacket Collection series, and supersedes two smaller Original Jacket issues of Horowitz material.
This double album presents, for the first time on recording, a Chicago concert and broadcast recorded in 1986, when Horowitz was 83. The music that exists from the last few years of Horowitz's life has a marvelous rarefied quality, and this live recording – marred by heavy early-season coughing about which Horowitz complains in one of the two included radio interviews, but enhanced by the immediacy of the live situation – is no exception. Horowitz was never the most purely muscular pianist out there (although he could make octaves ring when he had to), and not the most intellectual. But he was perhaps the most perfectionistic of the great pianists, taking stretches of several years off to rebuild his technique and his musical understanding when he felt his playing was not up to snuff.
Vladimir Horowitz possessed freakishly superb technical equipment, plus inspiration and a mercurial imagination that caused him to never play the same work twice in the same way. There has been no greater writer of pianistic works in the history of the instrument. There was never a better ear for piano color, and his performances usually succeeded in giving a work "the stamp of approval" causing his contemporaries to begin programming works he chose to champion. The was, and is, nobody who can imitate Horowitz, for his genius was truly a never ending source of inspiration.
"Vladimir Horowitz's April 20, 1986 Moscow recital has become so legendary that further comment seems superfluous. To say that this concert was an emotional experience is understatement. (…) The sound is excellent, if a bit close. I heard Horowitz in concert in Boston this same year - - this is how he sounded."