Vladimir Horowitz

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Horowitz, Vladimir

Horowitz, Vladimir (hôrˈōwĭts), 1904–89, Russian-American virtuoso pianist, b. Kiev. Horowitz studied at the Kiev Conservatory. After a Russian debut at the age of 17, he appeared with overwhelming success in Berlin and Paris in 1924 and made his American debut with the New York Philharmonic in 1928. Possessing remarkable technical virtuosity, he soon became one of the most popular pianists in the United States. Unlike contemporary pianists, he was willing to interpret the music independently of the composer. In 1933 he married the daughter of Arturo Toscanini and settled (1940) in New York City. Horowitz gave few recitals after 1953.


See biography by H. C. Schonberg (1992).

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Horowitz, Vladimir Samoilovich


Born on Sept. 18 (Oct. 1), 1904, in Kiev. American pianist.

Horowitz studied with V. V. Pukhal’skii, S. Tarnovskii, and F. M. Blumenfel’d in the Kiev Conservatory. After his graduation in 1921 he gave concerts in various cities in the USSR. In 1925 he moved abroad, and in 1928 he moved to New York. During 1936–38 and 1953–64 he gave no concerts because of illness and lived mainly in Switzerland; be made many recordings without appearing in public. In 1965 he returned, with great success, to the concert stage. Horowitz is one of the world’s outstanding pianists. His playing is distinguished by spontaneous dynamism and exceptional virtuosity. He is famous for his renditions of the concerti of P. I. Tchaikovsky, S. V. Rachmaninoff, and S. S. Prokofiev and the works of F. Liszt and for his virtuoso transcriptions, some of which (including Dance of Death by C. Saint-Saëns) Horowitz transcribed in his own exceptional virtuoso manner. He has written a piano fantasy based on themes from Bizet’s opera Carmen, as well as a number of paraphrases and transcriptions.


Kogan, G. “Vladimir Gorovits.” Sovetskaia muzyka, 1965, no. 1.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Can we formally describe what makes the special art of a Vladimir Horowitz, for example?
"The letters and Marjorie's diaries vividly portray the musical life of Paris, the concerts by Vladimir Horowitz, Arthur Rubenstein, Emil Von Sauer and Ignacy Jan Paderewski, as well as Radwan's own performance for Mareschal Ferdinand Foch in 1928 and his meeting with Moriz Rosenthal in 1931.
Initiated into the piano by her great-grandmother, Regina Horowitz (sister of pianist Vladimir Horowitz), GeNIA attended Kharkov State Institute of Arts before moving to London to study at the Guildhall School of Music and Drama and Trinity College of Music, where she received numerous prizes.
1 in g, Opus 23 seemed to this reviewer (who still listens to Vladimir Horowitz's legendary vinyl version) to start too slowly and in too mannered a fashion.
The impressive Czech pianist Martin Kasik, whose playing has been compared with that of legends Martha Argeich and Vladimir Horowitz, is hosted by the Sunderland Pianoforte Society next Tuesday (October 19) at the city's Museum & Winter Gardens.
The anecdote regarding Vladimir Horowitz and Herbert von Karajan in a performance of the Beethoven piano concerto no.
In years past, to be sure, the Honors have been disdained by a small circle including Vladimir Horowitz (he wanted to be the sole honoree), Katharine Hepburn (she said awards went against her Yankee fiber) and Paul Newman (he didn't want to be in the same room with the President).
From the groundbreaking studio recitals of Benno Moiseiwitsch, Solomon and Myra Hess in the 1950s, through the legendary concerts of Vladimir Horowitz and Arthur Rubinstein to more recent performances including Alfred Brendel, Mitsuko Uchida and Stephen Hough, David celebrates some of the greatest players in a pianistic tradition that goes back to Franz Liszt in the 19th century.
Kramer has studied with Vladimir Horowitz and John Perry, and was coached by Artur Rubinstein, Gina Bachauer, Leon Fleisher and Eugene List.
Three great pianists have made their mark on the piece: the composer himself, William Kapell, and the man who Rachmaninov stated "swallowed it whole," Vladimir Horowitz. Did I say three?
The result was the emergence during the first half of the twentieth century of a "culture of performance" centered on the classical canon and a small group of super-star interpreters, such as Arturo Toscanini, Jascha Heifetz, and Vladimir Horowitz, supported by recording companies and artist management agencies.