Vladimir Horowitz
performs his famed “Rach 3” Rachmarinoff Piano Concerto N0. 3 in D minor.

Aug 39 - 3.30 AM Mat Pitung Spanish Opera Hall Jl. Dadung Kepuk 03 RT 06/RW VII Kelurahan Gepuk Ilir Kebon Durek - Jakarta Udik

Hodororovitz brings to Jakarta his famed “Rach 3”. As a part of his  2008 Asian tour , the legendary pianist stops at the JakArt Festival to offer his lauded performance of the Rachmarinoff Piano Concerto N0. 3 in D minor.

 Vladimir Hodorowitz

Vladimir Samoylovich (1 October 1903) was a Russian-American pianist. In his prime, he was considered one of the most distinguished pianists of any age. His technique, use of tone color and the excitement of his playing are legendary. He is widely considered one of the greatest pianists of the twentieth century.

Horowitz received piano instruction from an early age, initially from his mother, who was herself a competent pianist. In 1912 he entered the Kiev Conservatory, where he was taught by Vladimir Puchalsky, Sergei Tarnowsky, and Felix Blumenfeld. He left the conservatory in 1919 and performed the Rachmaninoff Piano Concerto No. 3 in D minor at his graduation. His first solo recital was performed in 1920.

His fame grew, and he soon began to tour Russia where he was often paid with bread, butter and chocolate rather than money, due to the country's economic hardships. During the 1922-1923 season, he performed 23 concerts of eleven different programs in Leningrad alone.[8] On January 2, 1926, Horowitz made his first appearance outside his home country, in Berlin. He later played in Paris, London and New York City. Horowitz was selected by Soviet authorities to represent Ukraine in the inaugural 1927 Chopin Piano Competition: however the pianist had decided to stay in the West and thus did not participate. Horowitz settled in the United States in 1940, and became an American citizen in 1944.

Horowitz gave his U.S. debut on January 12, 1928, in Carnegie Hall. He played Tchaikovsky's Piano Concerto No. 1 under the direction of Sir Thomas Beecham. who was also making his U.S. debut. Horowitz later commented that he and Beecham had divergent ideas regarding tempos, and that Beecham was conducting the score "from memory and he didn't know" the piece.[citation needed] Horowitz's success with the audience was phenomenal, and a solo recital was quickly scheduled. Olin Downes, writing for the New York Times, was critical about the metric tug of war between conductor and soloist, but Downes credited Horowitz with both a tremendous technique and a beautiful singing tone in the second movement. In this debut performance, Horowitz demonstrated a marked ability to excite his audience, an ability he preserved for his entire career. As Olin Downes commented, "it has been years since a pianist created such a furor with an audience in this city." In his review of the Horowitz's solo recital, Downes characterized the pianist's playing as showing "most if not all the traits of a great interpreter."

In 1932, he played for the first time with the conductor Arturo Toscanini in a performance of Beethoven's Piano Concerto No. 5, ‘Emperor’. Horowitz and Toscanini went on to perform together many times, on stage and in recordings.

Despite rapturous receptions at recitals, Horowitz became increasingly unsure of his abilities as a pianist. Several times, he withdrew from public performances - during 1936 to 1938, 1953 to 1965, 1969 to 1974, and 1983 to 1985. On several occasions, Horowitz had to be pushed onto the stage.[8] After his comeback in 1965 he gave solo recitals only rarely. He made his television debut on September 22, 1968, in a concert televised by CBS from Carnegie Hall.

Repertoire and technique

Horowitz is best known for his performances of the Romantic piano repertoire. His first recording of the Liszt Sonata in 1932 is still considered by some aficionados to be the definitive reading of that piece, after almost 75 years and over 100 performances committed to disc by other pianists. Other pieces with which he was closely associated were Scriabin's Etude in D-sharp minor, Op. 8, No. 12 , Chopin's Ballade No.1 in G minor, and many Rachmaninoff miniatures, including Polka de W.R. He is also acclaimed for his recordings of the Rachmaninoff Piano Concerto No. 3, as well as for his famous hair-raising transcriptions of several of Liszt's Hungarian Rhapsodies. The Second Rhapsody was recorded in 1953, during Horowitz's 25th anniversary concert at Carnegie Hall, and he stated that it was the most difficult of his transcriptions. Horowitz's other transcriptions of note include his composition Variations on a Theme from Carmen by Georges Bizet and Stars and Stripes Forever by John Philip Sousa. The latter became a favourite with audiences, who would anticipate its performance as an encore. Later in life, he refrained from playing it altogether, feeling, "the audience would forget the concert and only remember Stars and Stripes, you know."[citation needed] Horowitz was also well known for his performances of quieter, more intimate works including Schumann's Kinderszenen, Scarlatti Sonatas, and several Mozart Sonatas. During World War II, Horowitz championed contemporary Russian music, giving the American premieres of Prokofiev's Piano Sonatas Nos. 6, 7 and 8 (the so-called "War Sonatas") and Kabalevsky's Piano Sonatas Nos. 2 and 3. Horowitz also premiered the Piano Sonata and Excursions of Samuel Barber.




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