Editing Vladimir Horowitz (section)

==Career in the West==
[[File:De Joods-Russisch-Amerikaanse pianist Vladimir Horowitz (1903-1989) achter het piano, SFA002005273.jpg|thumb|Horowitz in his early career.]]
On December 18, 1925, Horowitz made his first appearance outside his home country, in [[Berlin]].<ref>[http://horowitzberlin.com/bio.php Biography]. Horowitz Berlin. {{Subscription required}}</ref> He later played in [[Paris]], [[London]], and [[New York City]]. In 1926, the [[Soviet Union]] selected Horowitz to join the delegation of pianists that were to represent the country at the [[I International Chopin Piano Competition]] in [[Second Polish Republic|Poland]] in 1927, but he decided to remain in the West and did not participate.<ref>{{Cite book |last=Moshevich |first=Sofia |url=https://books.google.com/books?id=6phqd3BvJwIC&q=%22Dmitri+Shostakovich,+Pianist%22&pg=PA49 |title=Dmitri Shostakovich, Pianist |publisher=[[McGill-Queen's University Press]] |year=2004 |isbn=0-7735-2581-5 |location=Montreal |page=49 |access-date=2015-11-08 |archive-date=2023-03-18 |archive-url=https://web.archive.org/web/20230318062350/https://books.google.com/books?id=6phqd3BvJwIC&q=%22Dmitri+Shostakovich,+Pianist%22&pg=PA49 |url-status=live }}</ref>

Horowitz gave his United States debut on January 12, 1928, in [[Carnegie Hall]]. He played [[Pyotr Ilyich Tchaikovsky|Tchaikovsky]]'s [[Piano Concerto No. 1 (Tchaikovsky)|Piano Concerto No. 1]] under the direction of [[Thomas Beecham|Sir Thomas Beecham]], who was also making his U.S. debut. Horowitz later said that he and Beecham had divergent ideas about tempos and that Beecham was conducting the score "from memory and he didn't know" the piece.<ref>Videotaped interview, 1982, intermission feature from London recital</ref> Horowitz's rapport with his audience was phenomenal. [[Olin Downes]], writing for ''[[The New York Times]]'', was critical about the tug of war between conductor and soloist, but credited Horowitz with both a beautiful singing tone in the second movement and a tremendous technique in the finale, calling his playing a "tornado unleashed from the steppes".<ref>Downes, Olin. ''The New York Times'', January 13, 1928.</ref> In this debut performance, Horowitz demonstrated a marked ability to excite his audience, an ability he maintained for his entire career. Downes wrote: "it has been years since a pianist created such a furor with an audience in this city." In his review of Horowitz's solo recital, Downes characterized the pianist's playing as showing "most if not all the traits of a great interpreter."<ref>Downes, Olin. ''The New York Times'', February 21, 1928.</ref> In 1933, he played for the first time with the conductor [[Arturo Toscanini]] in a performance of [[Ludwig van Beethoven|Beethoven's]] [[Piano Concerto No. 5 (Beethoven)|Piano Concerto No. 5]]. Horowitz and Toscanini went on to perform together many times, on stage and in recordings. Horowitz settled in the U.S. in 1939 and became an American citizen in 1944.<ref name="Encyclopedia.com">[http://www.encyclopedia.com/doc/1G2-3491900044.html#A Vladimir Horowitz on Encyclopedia.com] {{Webarchive|url=https://web.archive.org/web/20230318062345/https://www.encyclopedia.com/people/literature-and-arts/music-history-composers-and-performers-biographies/vladimir-horowitz#A |date=2023-03-18 }}, accessed ''15 January 2010''</ref> He made his television debut in a concert taped at Carnegie Hall on February 1, 1968, and broadcast nationwide by CBS on September 22 of that year.

Despite rapturous receptions at recitals, Horowitz became increasingly unsure of his abilities as a pianist. On several occasions, the pianist had to be pushed onto the stage.<ref name="plaskin" /> He suffered from depression and withdrew from public performances from 1936 to 1938, 1953 to 1965, 1969 to 1974, and 1983 to 1985.

===Recordings===
{{See also|Vladimir Horowitz discography}}
[[File:Vladimir Horowitz LOC 3b00629.jpg|thumb|Horowitz in 1931]]
{{external media | float = right | width = 270px | audio1 = You may hear Vladimir Horowitz performing [[Johannes Brahms]] "Piano Concerto No. 2 in B-flat Major" with [[Arturo Toscanini]] conducting the [[NBC Symphony Orchestra]] in 1940.  [https://archive.org/details/BRAHMSPianoConcertoNo.2-Horowitz-NEWTRANSFER/02.Ii.AllegroAppassionato.mp3 Link.]}}

In 1926, Horowitz performed on several [[piano roll]]s at the [[Welte-Mignon]] studios in [[Freiburg im Breisgau|Freiburg]], Germany. His first recordings were made in the United States for the [[Victor Talking Machine Company]] in 1928. Horowitz's first European-produced recording, made in 1930 by [[Gramophone Company|The Gramophone Company]]/[[His Master's Voice (British record label)|His Master's Voice]] RCA Victor's UK based affiliate, was of [[Sergei Rachmaninoff|Rachmaninoff]]'s [[Piano Concerto No. 3 (Rachmaninoff)|Piano Concerto No. 3]] with [[Albert Coates (musician)|Albert Coates]] and the [[London Symphony Orchestra]], the world premiere recording of that piece. Through 1936, Horowitz continued to make recordings in the UK for HMV of solo piano repertoire, including his 1932 account of [[Franz Liszt|Liszt's]] [[Piano Sonata in B minor (Liszt)|Sonata in B minor]]. Beginning in 1940, Horowitz's recording activity was again concentrated for RCA Victor in the US. That year, he recorded [[Piano Concerto No. 2 (Brahms)|Brahms Piano Concerto No. 2]], and in 1941, the [[Piano Concerto No. 1 (Tchaikovsky)|Tchaikovsky Piano Concerto No. 1]], both with Toscanini and the [[NBC Symphony Orchestra]]. In 1959, RCA Victor issued a live 1943 performance of the Tchaikovsky concerto with Horowitz and Toscanini; generally considered superior to the 1941 studio recording, it was selected for induction into the [[Grammy Hall of Fame]]. During Horowitz's second retirement, which began in 1953, he made a series of recordings for RCA Victor in his New York City townhouse, including [[LP record|LPs]] of [[Alexander Scriabin|Scriabin]] and [[Muzio Clementi|Clementi]]. Horowitz's first stereo recording, issued by RCA Victor in 1959, was devoted to Beethoven piano sonatas.

In 1962, Horowitz embarked on a series of recordings for [[Columbia Records]]. The best known are his 1965 return concert at [[Carnegie Hall]] and a 1968 recording from his television special, ''Vladimir Horowitz: a Concert at Carnegie Hall'', televised by [[CBS]]. Horowitz continued making studio recordings, including a 1969 recording of [[Robert Schumann|Schumann's]] ''[[Kreisleriana]]'', which was awarded the Prix Mondial du Disque.In 1975, Horowitz returned to RCA and made live recordings for the company until 1983. He signed with [[Deutsche Grammophon]] in 1985, and made studio and live recordings until 1989, including his only recording of Mozart's [[Piano Concerto No. 23 (Mozart)|Piano Concerto No. 23]]. Four documentary films featuring Horowitz were made during this period, including the telecast of his April 20, 1986 Moscow recital. His final recording, for [[Sony Classical]] (formerly Columbia), was completed four days before his death and consisted of repertoire he had never previously recorded.<ref>{{Cite news |last=Schonberg |first=Harold C. |date=April 22, 1990 |title=Recordings; Horowitz's Parting Gift: Charming Novelties |work=The New York Times |url=https://www.nytimes.com/1990/04/22/arts/recordings-horowitz-s-parting-gift-charming-novelties.html |access-date=2010-03-18 |archive-date=2011-02-18 |archive-url=https://web.archive.org/web/20110218093640/http://www.nytimes.com/1990/04/22/arts/recordings-horowitz-s-parting-gift-charming-novelties.html |url-status=live }}</ref>

All of Horowitz's recordings have been issued on compact disc, some several times. In the years following Horowitz's death, CDs were issued containing previously unreleased performances. These included selections from Carnegie Hall recitals recorded privately for Horowitz from 1945 to 1951.<ref>{{Cite web |title=Sony Masterworks to Release Unprecedented Series of Horowitz Recordings... |url=http://www.prnewswire.com/news-releases/sony-masterworks-to-release-unprecedented-series-of-horowitz-recordings-documenting-legendary-pianists-greatest-years-as-an-interpretive-artist-78539857.html |access-date=2010-03-18 |publisher=[[PR Newswire]] |archive-date=2016-03-03 |archive-url=https://web.archive.org/web/20160303172729/http://www.prnewswire.com/news-releases/sony-masterworks-to-release-unprecedented-series-of-horowitz-recordings-documenting-legendary-pianists-greatest-years-as-an-interpretive-artist-78539857.html |url-status=live }}</ref>

===Students===
Horowitz taught seven students between 1937 and 1962: [[Nico Kaufmann]] (1937),<ref name="Zentralbibliothek_Zurich">{{Cite web |title=Kaufmann, Nico (1916–1996) |url=https://www.zb.uzh.ch/spezialsammlungen/musikabteilung/nachlaesse/einzelne-nachlaesse/003594/index.html.de |access-date=24 July 2018 |website=Zentralbibliothek Zürich |language=de |archive-date=25 July 2018 |archive-url=https://web.archive.org/web/20180725063720/https://www.zb.uzh.ch/spezialsammlungen/musikabteilung/nachlaesse/einzelne-nachlaesse/003594/index.html.de |url-status=live }}</ref> [[Byron Janis]] (1944–1948), [[Gary Graffman]] (1953–1955), [[Coleman Blumfield]] (1956–1958), [[Ronald Turini]] (1957–1965), [[Alexander Fiorillo]] (1960–1962) and [[Ivan Davis]] (1961–1962).<ref>Plaskin, Glenn (1983), p. 10 "interviews with all six of Horowitz's students: Gary Graffman, Byron Janis, Ivan Davis, Ronald Turini, Coleman Blumfield, and Alexander Fiorillo"</ref> Janis described his relationship to Horowitz during that period as a surrogate son, and he often traveled with Horowitz and his wife during concert tours. Davis was invited to become one of Horowitz's students after receiving a call from him the day after he won the Franz Liszt Competition.<ref name="pl">Plaskin, Glenn (1983), p. 305 "...he also won the Franz Liszt Competition and received a surprise phone call from Horowitz the day after the announcement. ...with 60 concerts planned for his first cross-country tour and a CBS record contract, Davis intrigued Horowitz."</ref> At the time, Davis had a contract with Columbia Records and a national tour planned.<ref name=pl/> According to biographer Glenn Plaskin, Horowitz claimed that he had only taught three students during that period, saying "Many young people say they have been pupils of Horowitz, but there were only three: Janis, Turini, who I brought to the stage, and Graffman. If someone else claims it, it's not true. I had some who played for me for four months. Once a week. I stopped work with them because they did not progress." Plaskin remarks: "The fact that Horowitz disavowed most of his students and blurred the facts regarding their periods of study says something about the erratic nature of his personality during that period."<ref name="pla">Plaskin, Glenn (1983), p. 300</ref> Horowitz returned to coaching in the 1980s, working with [[Murray Perahia]], who already had an established career, and [[Eduardus Halim]].