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Horowitz At Carnegie Hall
The musical rest is defined as being a pause during which no sound is heard until the next tone is sounded. And the same goes for a musician who makes a long pause, which is then ended by thundering applause from an enraptured audience. This is exactly what happened on 9 May 1965, the day on which Vladimir Horowitz stepped onto the stage at Carnegie Hall after an absence of 12 years.
As so often, the maestro ignored all types of works from Viennese Classicism, and certainly no one missed them. Busoni's arrangement of Bach's Toccata in C major, BWV 564 is precise, has enormous presence and is yet impressively transparent; Schumann's Fantasy op. 17 is emotional, at times breathless and charming; Horowitz captures the spirit of Scriabin and Chopin with virtuosity and heartfelt emotion, allowing the works to waft over the audience.
As a finale to this celebrated comeback, Horowitz performs a delightfully light and fresh rendering of Moszkowski's Etude in A major, op. 27, and brings the evening to a peaceful end with Schumann's unique TrÄumerei (Dreaming) from Kinderszenen (Scenes from Childhood). In this live recording of just one of several comebacks, the discerning listener will notice the tension and nervousness at this literally high-temperature event - the noisy air-conditioning had been shut at the request of the recording engineers.
- Vladimir Horowitz (piano)
Recording: May 1965 live at Carnegie Hall, New York, by Fred Plaut
Production: Thomas Frost1. J.S. Bach / Ferruccio Busoni: Organ Toccata in C major
2. Robert Schumann: Fantasy in C Major, Op. 17; TrÄumerei (Dreaming) from Kinderszenen (Scenes from Childhood) Op. 15
3. Alexandr Scriabin: Poem in F-sharp major, Op. 32, No. 1; Etude in C-sharp minor, Op. 2, No. 1
4. Frederic Chopin: Mazurka in C-sharp minor, Op. 30, No. 4; Etude in F major, Op. 10, No. 8; Ballade in G minor, Op. 23
5. Claude Debussy: Serenade For the Doll (from Children's Corner)$64.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Kreisleriana (Speakers Corner)
It is always tempting with the Kreisleriana, a portrayal of E.T.A. Hoffmann's wild, eccentric and genial Kapellmeister Kreisler, to study both the literary figure and to try to identify the characteristics of the composer Robert Schumann himself. In the eight Fantasies, as Schumann called them, we find a romantically coloured reflection of the ups and downs of life, which an artist such as Vladimir Horowitz could empathize with. Right in the very first movement furious chains of triplets »like electrical fire« (Hoffmann) seem to leap out of the keyboard. With a cool mind and extreme sensitivity Horowitz treats the extreme tempo markings such as 'very heartfelt, very agitated, very fast' with restrain, resulting in a haunting and controlled expression. The result is an effusion of gently flowing melodies and swift, pulsating movement full of spirited rhythm which heightens to nervous emotion. Rich, saturated sounds from the piano breathe life into even the quietest passages and the listener's highest expectations are totally fulfilled - as such a key work deserves. It only takes a little imagination to conjure up something of the irony and humour of the romanticist when »the music vibrates in the play of facial muscles« of the Kapellmeister Kreisler.
Recording: February and December 1964 at Columbia's 30th Street Studio, New York, by Fred Plaut
Production: Richard Killough
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.Robert Schumann: Andantino from Sonata No. 3, Op. 14, Kreisleriana, Op. 16 - Vladimir Horowitz$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now