?? LIKE and SUBSCRIBE for more videos ! https://www.youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1 ?? SUBSCRIBE to my PATREON ! → https://www.patreon.com/thepianoexperience Vladimir Horowiz : Carnegie Hall Rehearsal, 7 April 1965 (Bach, Busoni, Schumann, Scarlatti, Rachmaninoff, Chopin, Moszkowski, Liszt, Chopin, Scriabin, Conversations etc...) Performer : Vladimir Horowitz, piano Date : 7 April 1965 Place : Carnegie Hall Program : Rehearsal 00:00 Horowitz improvising 02:45 Conversation I 03:28 Bach/Busoni - Preludio, from Toccata in C Major, BWV. 564 09:51 Conversation II 10:05 Bach/Busoni - Toccata insert 12:26 Conversation III 12:41 Bach/Busoni - Adagio, from Toccata in C Major, BWV. 564 17:48 Conversation IV 18:05 Bach/Busoni - Fuga, from Toccata in C Major, BWV. 564 22:57 Conversation V 23:45 Schumann - Fantasy in C major, op. 17 : II, Mässig 28:30 Conversation VI 28:40 Schumann - Fantasy in C major, op. 17 : III Langsam getr 38:25 Conversation VII 38:38 Conversation VIII 39:04 Scarlatti - Sonata in E Major, K. 380 (L 23) 41:58 Rachmaninoff - Prelude in G Sharp Minor Op. 32, No. 12, 44:33 Chopin - Nouvelle Etude No. 2 in A-flat Major, Op. posth 46:32 Moszkowski - Etude in A-flat Major Op. 72, No. 11 47:54 Liszt - Valse Oubliée No. 1, in F sharp Major 50:40 Chopin - Etude Op. 10, No 8 in F Major fragment ending 51:13 Scriabin - Sonata No. 9 "Black Mass" in F Major for Piano, Op. 68 58:38 Conversation IX BIOGRAPHY The most famous pianist of the twentieth century, his name known to the proverbial man on the street the world over, Vladimir Samoylovich Horowitz (1903–1989) was born in 1903 in Kiev. Horowitz showed enough prodigious talent to play for Alexander Scriabin in 1915, just before the Russian composer-pianist’s early death. Horowitz would become a superlative interpreter of Scriabin’s music, which the pianist described as “mystical… expressionistic.” Horowitz also became friends with another great Russian composer-pianist (and Scriabin’s former schoolmate), Sergei Rachmaninoff – who was the acme of Romanticism. He also made a benchmark recording of Rachmaninoff’s Piano Sonata No. 2. Emigrating from Russia in 1925 and eventually settling in New York City, Horowitz made his American debut with Tchaikovsky’s Piano Concerto No. 1 in 1928 at Carnegie Hall, which would become his home venue, the site of many recordings. Impressed by the pianist’s tonal dynamism, conductor Thomas Beecham, who led that concert, reportedly said: “Really, Mr. Horowitz, you can’t play like that – it shows the orchestra up.” Horowitz made a series of solo recordings for HMV at London’s Abbey Road Studios in 1932, including several Chopin pieces and an electrifying take on Liszt’s B Minor Sonata, helping to establish the piece in the standard repertoire. A review of a 1933 London concert declared Horowitz “the greatest pianist dead or alive.” Horowitz would make hit recordings with Toscanini of the Tchaikovsky concerto and the Brahms Piano Concerto No. 2 in 1940–41. Over the course of his career, Horowitz’s recorded repertoire stretched far beyond those early specialties of Chopin, Brahms, Liszt, Tchaikovsky, Scriabin and Rachmaninoff; in long associations for RCA, then Columbia and, finally, Deutsche Grammophon, Horowitz also ranged from Scarlatti, Haydn and Clementi to Beethoven, Schumann and miniatures across the ages with artistic and commercial success; in a period of applying himself to modern music, he premiered Samuel Barber’s Sonata in 1950, along with recording sonatas by Prokofiev and Kabalevsky. Driven to “grow until I die,” he said, the pianist reapplied himself to select Beethoven sonatas in his middle period and then several Mozart works as he grew older. Horowitz also crafted his own transcriptions and arrangements, including such showstoppers as his variations on Carmen and Stars and Stripes Forever. In his book The Great Pianists, critic Harold Schonberg wrote: “As a technician, Horowitz was one of the most honest in the history of modern pianism. Famously high-strung, his art always a mental-physical high-wire act, Horowitz took four sabbaticals from public performance to deal with various issues, his returns much-ballyhooed events. The first layoff was for two years in 1936; the longest was 1953 to 1965, followed by a tremendous homecoming to Carnegie Hall. But even over his later breaks, he recorded regularly at home in his Manhattan townhouse, documenting his art as it subtly evolved even beyond great venues and the recording studio. A 1985 film, The Last Romantic, captured the pianist in his last years, performing at home as well as reminiscing about Scriabin and Rachmaninoff. The next year, Horowitz returned to Russia, 61 years after leaving — a hugely emotional event for both artist and audience, documented in the concert album and film Horowitz in Moscow. In 1987, he played his final recital, in Hamburg; he died two years later. ... https://www.youtube.com/watch?v=Fu7FCbNL-Rs

Please subscribe to my channel. Vladimir de Pachmann plays Chopin Mazurka in A Minor, Op. 67 No. 4 (1927) 3 November 1927; (Cc11762-1) DB 1106 beginning with the pianist’s transitional chords The transfert was made by Tom Jardine : https://www.facebook.com/groups/1014028221989889/permalink/3906065899452759 VLADIMIR DE PACHMANN (1848–1933) Perhaps the most renowned Chopin specialist ever, his style harkens back to the Hummel school, although it was Liszt and his emphasis on individuality of expression that had the greatest role in shaping Pachmann’s playing. Godowsky considered him unique and supreme among all pianists. Pachmann was born in Odessa, Ukraine as Vladimir Pachmann. The von or later de as a nobiliary particle was most probably added to his name by himself. Three of his brothers serving as officers in the Imperial Russian Army did not use the particle, as might be expected. His father was a professor at the University of Odessa and a celebrated amateur violinist who had met Beethoven, Weber and other notable composers in Vienna. He was his son's only teacher until he turned 18, at which time he went to Vienna to study music at the Vienna Conservatory, studying piano with Josef Dachs (a pupil of Carl Czerny) and theory with Anton Bruckner. He gained the Conservatory's Gold Medal and made his concert debut in Odessa in 1869, but until 1882 he appeared in public infrequently, spending his time in further study. He then toured throughout Europe and the United States, and was acclaimed as a top player of his era. His programmes consisted almost exclusively of the works of Chopin, with only an occasional movement by Bach, Scarlatti, Mendelssohn or Henselt. In Denmark he was appointed a Knight of the Order of the Dannebrog. Pachmann was one of the earliest performers to make recordings of his work, beginning in 1906 with recordings for the Welte-Mignon reproducing piano and in 1907 for the gramophone. He was also famous for gestures, muttering and addressing the audience during his performance; the Encyclopædia Britannica Eleventh Edition characterized it as the "playfulness of his platform manner". Critic James Huneker called him the "Chopinzee", and George Bernard Shaw reported that he "gave his well-known pantomimic performance, with accompaniments by Chopin." In April 1884 Pachmann married the Australian-born British pianist Maggie Okey (Annie Louisa Margaret Okey, 1865–1952), who was later known as Marguérite de Pachmann. They did concert tours of Europe together and had three sons – Victor, who died in infancy, Adriano and Leonide (called Lionel). The marriage ended after seven years. Vladimir de Pachmann died in Rome in 1933, aged 84. ... https://www.youtube.com/watch?v=xU-OVNX0mY8

?? LIKE and SUBSCRIBE for more videos ! https://www.youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1 ?? SUBSCRIBE to my PATREON ! → https://www.patreon.com/thepianoexperience Wilhelm Kempff plays Brahms's Capriccio in G Minor, op 116/3. The late Wilhelm Kempff is here at his house in Ammerland near Munich Wilhelm Kempff was a German pianist and composer. He studied in Berlin and Potsdam. He toured widely throughout contintental Europe and much of the rest of the world, but did not make his first London appearance until 1951, and did not play in New York until 1964. He gave his last public performance in Paris in 1981 and died in Positano, Italy at the age of 95. Considered one of the greatest pianists of 20th century, Wilhelm Kempff is celebrated today for his recordings of Robert Schumann, Johannes Brahms, Schubert, W.A. Mozart, J.S. Bach, Franz Liszt, Frédéric Chopin and particularly, of L.v. Beethoven. He recorded over a period of some sixty years. Kempff was among the first to record the complete sonatas of F. Schubert long before these works became popular. He also recorded two celebrated sets of the complete L.v. Beethoven sonatas, one in mono and the other in early stereo. He also played chamber music with Yehudi Menuhin and Pierre Fournier among others. Particularly famous are the recordings of the complete L.v. Beethoven sonatas for violin and piano with Yehudi Menuhin. In 1957 Kempff began to give an annual L.v. Beethoven interpretation course in his villa in Positano. Six years after his death, friend and former student John O'Conor took over the course. A lesser known activity of Wilhelm Kempff was composing. He composed for almost every genre. His second symphony was premiered in 1929 at the Leipzig Gewandhaus by Wilhelm Furtwängler. He also prepared a number of J.S. Bach transcriptions, including the Siciliano from the Flute Sonata in E, which has been recorded by the pianist Idil Biret. Source :https://www.facebook.com/watch/?v=216912899837663 ... https://www.youtube.com/watch?v=3PPH46hxvzo

?? LIKE and SUBSCRIBE for more videos ! https://www.youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1 ?? SUBSCRIBE to my PATREON ! → https://www.patreon.com/thepianoexperience Earl Wild plays Grieg Piano Concerto in A minor Op. (opus) 16 (1947 - Live radio broadcast Paul Whiteman). Piano : Earl Wild Conductor : Paul Whiteman Orchestra : Paul Whiteman's Orchestra BIOGRAPHY Earl Wild’s parents were not musical but their child was exceptionally talented, possessing perfect pitch and an impressive sight-reading ability. His first teachers, all local, were Henry Volz, Harry Archer and Mrs Hanson. At six he was enrolled at the Pittsburgh Musical Institute where he studied with Alice Walker, and from the age of twelve until graduation he studied with Selmar Jansen, who had been a pupil of both Xaver Scharwenka and Eugen d’Albert. Due to the Depression and the break up of his parents’ marriage, Wild had to earn money to help support his mother, so at the age of thirteen he managed to get jobs at the local radio station KDKA, playing the piano or making arrangements for orchestral groups. He continued this work until he graduated, and then became pianist for the Pittsburgh Symphony Orchestra working under such conductors as Fritz Reiner and Otto Klemperer. In 1934 Wild travelled to New York for lessons from Busoni pupil Egon Petri and was able to hear the great pianists of the time. Those whose playing influenced him most were Josef Hofmann, Josef Lhévinne, Artur Schnabel and Walter Gieseking. He also took further tuition from Paul Doguereau (a pupil of Paderewski and Ravel) and Helen Barere, wife of pianist Simon Barere. From 1937 Wild worked for NBC in a similar capacity to that at KDKA, but also had the opportunity of sometimes playing concertos with the NBC Orchestra under such conductors as Arturo Toscanini and Walter Damrosch. He accompanied a great number of eminent instrumentalists and played chamber music, in 1944 giving the US première of Shostakovich’s Piano Trio in E minor Op. 67. During World War II, Wild served as a musician playing fourth flute in the Navy Band and piano concertos with the Navy Orchestra. Wild is a pianist in the tradition of the nineteenth century in that he entertains audiences rather than lectures them with his performances. He believes that there is much lacking in modern piano playing, that most pianists are concerned only with the notes and not what lies beneath. His goal is beauty and emotion in music, something he believes is being destroyed by musicologists. He is also a noted Liszt player and often performs the Russian Romantics, Rachmaninov and Medtner. His repertoire is all-encompassing with the exception of atonal music, and he seems able to successfully perform music of ... https://www.youtube.com/watch?v=oKJlW92ua1Y