Respect the egregious significance of Vladimir Horowitz for the great Western audiences, I really should notice that Europe had lived a Century and a half of reluctant Romanticism, while North America was in another historical process; the recent musical history began to write with two important composers: Edward Mac Dowell, a beloved and admired friend of Frau Carreno and Louis Moreau Gotschalk, who accustomed to make those Gargantuan recitals such as that famous Concert with more than one hundred pianists on stage. Indeed, this was an imported costume of those Ages, where the concept of listening music had lessened the value; the visible decay of the music in the second half of the XIX Century is more than obvious. The ominous presence of composers of the artistic height of Richard Wagner, Johannes Brahms, Gustav Mahler and Anton Bruckner were concentrated in Germany and Austria; Frank in Belgium and Max Reger in Swiss, but if you take a look around the musical triviality lived in the rest of Europe (with counted and isolated exceptions)where the fireworks of Liszt, Thalberg, and Alkan filled the Concert Halls in Paris, with the elusive music of Lalo or Jules Massenet and the arriving of the new Midas King of the great Halls, Strauss dynasty, included Waldteufel captivated the audiences.

The emotion for watching a piano virtuosi simply had not prize. You should remind the famous tour undertaken by Anton Rubinstein in the last years of the XIX Century. Horowitz contributed conscious or unconsciously to perpetuate the legend. Effectively, he marked a`personal style at the piano; if not let me refresh you these names: William Kapell, John Browning, Gary Graffman. Lori Hollander, Byron Janis, Van Cliburn and Leon Fleisher, were notably influenced with this style. And please tell me who in a sensate state of mind, would be able to send to Europe his promising son or daughter where the flaming wrecks of the WW1 were in the air and the expected fears of a next confrontation was still to come.

Schnabel was a particular exception, since he was hired as Docent in USA, but its influence was relatively small. We should wait to the early Fifties to appreciate other styles and approaches; Gilels, Richter from USRR, Badura Skoda, Demus and Gulda from Austria, but still remained confined for dilettantes the renowned figures such as Edwin Fisher, Michelangeli, Myra Hess and Wilhelm Kempff.

His playing caused true furor during almost four decades. Horowitz now belongs to the legend.

This album showcases the mighty Vladimir Horowitz in his last years. His life of music is definitive in these masterful interpretations. In these pieces, Mr. Horowitz displays many new ideas on some pieces that have been played, assumed successfully, continually in the same manner.

Two instances - Scriabin's Etude, Op. 8 No. 12 and Mozart's Rondo, K. 511. The maestro's entrance is softer and slower in the former, and in the latter, as stated in the studio chatter, he speeds up the tempo to make it less of a profound statement. It was Horowitz who chastised the new age of pianists on their attempts to play everything slow and prophetic. I believe it was Mr. Horowitz that told David Dubal "Only very few pieces are meant to be played slow" (after comparing performance times of major piano works from the early part of the 20th century to the later part, you will see the difference).

The DVD included in this package is wonderful, but for those who enjoy a more classic approach to the classical period - do not anticipate simple aural enjoyment. Do expect to see one of the greatest pianists ever work his magic at the piano. Do look forward to watching a master correct a mistake by another master. Do count on a memorable experience.

Horowitz is simply stunning, and this compilation is an absolute jewel. The added bonus of the DVD performance of Mozart's 23rd is the icing on the cake.

Mr. Drake has written the definitive review of this recording, but I want to add a few things.
In these recordings, the piano seems merely an extension of Horowitz's consciousness. The translation from his head and his heart to the piano is effortless, and filled with emotion. While listening to this CD, I understood that Horowitz's flawless technique stems not just from a complete knowledge of the pieces, but from his love of the music. He makes the music his own like no other.
This is inspirational music, played by the greatest master of his craft at the height of his powers.
An added bonus is the DVD which accompanies the 2 CD's, a video of the studio recording of Mozart's 23rd piano concerto. Horowitz, in his 80's, has the innocence of a child, playfully joking with the producer, the conductor, the page turner. When he plays, it is with a sense of joy that seems to accompany all of the recordings in this set.
The productions values here are excellent, typical Deutsche Grammophon.
I'd give this recording a 10 if I could.

By no means am I a piano expert, so this is just from a pure listener's perspective: Few, if any, releases come close to this one. Horowitz could make the piano sing like no one else before or since. His nuances and musicianship are unparalleled. Just listen to the Liszt Serenade (Staendchen). Unbelievable poetry in notes and play.

Ten stars would have been more appropriate.

Few contemporaries might be considered merely remotely close to Vlado, the last romantic, the last of his kind... Maybe Krystian Zimerman, maybe Pierre Laurent-Aimard, both in their own ways?

Anyway, do not miss this set (and buy the SONY '65 Live set as well, while you are at it...!).