The Tchaikovsky First Concerto presented here, from 1941, was a best seller in its day and has retained its legendary status. Toscanini draws first class playing from his orchestra, and despite Horowitz's superstar status, it's clearly the conductor who's calling the interpretive shots. Toscanini considered his son in law to be the world's greatest pianist, and listening to this recording, it's easy to understand why. Horowitz's contribution includes stupendous, sizzling octaves, ferocious excitement, and a sensitively phrased second movement. Although there are other versions of this concerto which offer greater musical nourishment (including a Horowitz recording with Szell from 1953), this remains the most viscerally exciting Tchaikovsky First on disc.

Vladimir Horowitz made three "official" recordings of Rachmaninoff's formidable Third Concerto. There are wonderful things in the 1930 recording with Coates, but that performance was severely cut. The 1978 version with Ormandy is also marvelous in its own way, but this 1951 studio recording with Reiner was Horowitz's high water mark in this piece. From the beautiful chord weighting of the first movement to the knife-edge staccato in the Finale, Horowitz is simply untouchable. There are a few cuts here, but not as severe as the version with Coates or Rachmaninoff's 1939 recording with Ormandy. Reiner is a sympathetic collaborator and draws some virtuoso playing from the pickup orchestra. The recording balance favors the piano, but Horowitz's dazzling virtuosity and clarity deserve to be highlighted. On the whole, this is my favorite Rachmaninoff Third on CD. The G major prelude, recorded in 1977, is more lovingly played here than the more casual 1986 version recorded in Moscow.

Disc 2 comprises solo works with which Horowitz was identified.
More of Horowitz's recordings are devoted to Chopin than any other composer. He performed the Polonaise-Fantasy in concert back when most pianists were loath to perform such an abstract work. This live 1951 performance tends to be harsh and over-driven, and lacks the poetry and cohesion of his later 1966 concert performance. Both the Mazurka and Nocturne feature flexible tempos and sensitive phrasing.

Scriabin, once called the "Russian Chopin," also features prominently in Horowitz's repertoire. The four pieces here are played with the sensuality and demonism that the music demands, but seldom receives. Somewhat less successful is Liszt's Mephisto Waltz (recorded in concert in 1979): demonic it is, but with many technical baubles.

Until his 1953 retirement, Horowitz was one of the foremost exponents of 20th Century repertoire. He gave the US premieres of Prokofiev's "War" Sonatas, and the World premiere of Barber's Sonata. The stunning, driven performance of the Prokofiev Toccata is contrasted with the elegant, witty playing of Poulenc's Presto.

The Clementi, Schumann, and Bizet pieces are wonderful examples of Horowitz doing what he did best, tossing off piano music with electric elegance, and the occasional bit of divine madness.

This new remastering by Jon Samuels is a considerable improvement over RCA's earlier transfers. The fact that RCA continues to reissue Horowitz material 14 years after his death, demonstrates that the demand for his unique brand of piano playing exists. RCA should have Mr. Samuels remaster their entire Horowitz catalogue and give the Horowitz legacy the red carpet treatment it deserves.