Vladimir Horowitz: The Unreleased Live Recordings 1966-1983

A perfect companion to Sony’s end-to-end box set, this stand out collection highlights Horowitz’ jumping into the deep end of the performance pool starting in the late 60’s through the early 80’s. This is a tough set to find but for those with patience and perseverance, the selections and their techniques are worth the wait

Not thru listening to this yet, it is a BIG SET!!! Not even that expensive for such a large collection of CDs. For those of you who prefer CDs.

Thank you.

ok

Although they are live recordings, the sound quality are good. I like the way that they pack the cds. What i dont like is that many of the cds have very similar program and the duration of each cd are around 45 minutes, which i think are too short. But overall i think it is worth the money.

phenomenal

what a lovely book. go underneath it at your own risk. and, most importantly, R_E_L_A_X

In 2013, Sony issued a 40CD box containing all of Vladimir Horowitz’s Carnegie Hall concerts that RCA and Columbia recorded, along with some material from earlier recitals that the pianist had recorded for his personal use – performances dating from 1943-1978. Much of the repertoire had been issued over the years in a series of recordings under rather generic titles (“Horowitz in Concert”, “The Horowitz Concerts” and “Horowitz on Tour”) which hinted that the material was assembled from various appearances. It’s no secret that Horowitz’s “live” recordings issued by Columbia and RCA from 1965-1982 were often edited using material gathered from multiple concerts and rehearsals at various locations. (There’s only one instance I know of where a patch session after the concert took place: the 1978 Rachmaninoff Third with Ormandy, where Horowitz was excessively nervous and struggled in parts.) The 2013 box made much of the material available in unedited form for the first time. The set revealed a master in the art of performance, recorded in America’s most famous concert hall – spontaneous, taking risks both musical and technical, which more often than not paid off. But it’s also true that Horowitz was not always at his best at Carnegie Hall – the pianist generally played better in college towns like New Haven and Ann Arbor, where his playing was both more relaxed and more daring. This 50CD box covers Horowitz outside Carnegie Hall, from locations as near to his home as Manhattan’s Lincoln Center, to as distant as London, from 1966-1983 – a total of 25 concerts.The recordings here fall into roughly three categories:1966-1968: This, for me, is the high point of this set. Horowitz’s technique is largely intact, but the interpretations have a new sense of depth and repose compared to recordings made before his 1953 retirement - and there is a wider tonal palette, although that may be the result of superior recording technology. There is an ideal balance of musicality and virtuosity. Highlights from this period include a moving appearance in Boston on April 7, 1968 – three days after Martin Luther King, Jr. was assassinated. After an announcement by an African-American minister, Horowitz performs Chopin’s Funeral March in Dr. King’s memory – uncharacteristically lingering on the penultimate chord – as if not wanting to let go. (The accompanying book includes a note of appreciation from Dr. King for Horowitz’s support of the Civil Rights Movement.) There are also several renditions of Rachmaninoff’s Second Sonata – with the pianist using different cuts in the spring of 1968 than appeared in the authorized recording (which derived from that autumn) that make for fascinating comparison – truly the re-creative process at work.1975-1980: In the 1970s, Horowitz’s playing starts to change: there are more wrong notes, to be sure – along with minor memory lapses that would only be apparent to those who know the music. But there are also more willful rubati and changes in tempo, an emphasis on details rather than the overall arc – often at the expense of linear continuity. Most of the time he’s still “on”, but less consistently than in the 60s. High points from this era include a Schumann Humoreske from April 8, 1979 which is head and shoulders superior to the edited recording that RCA issued on LP; one week later, a haunting performance of Scriabin’s Prelude for the Left Hand with voicing so detailed the listener could well think he’s playing with three hands; also included is Horowitz’s final performance of the Rachmaninoff Third Concerto with the New York Philharmonic under Zubin Mehta – a more balanced interpretation than that with Ormandy eight months prior. Previously available on video with mono sound, it’s great to hear the pianist’s final thoughts on a work he championed, in very fine stereo.1981-1983: The nadir of Horowitz’s career. A combination of anti-depressants and alcohol (brought on, according to annotator Bernard Horowitz [no relation], by an emotional spiral tied to the impending publication of an unflattering biography) resulted in a loss of coordination and memory lapses, making it difficult to follow the musical line, with the playing worsening from 1981, ending in disaster in Tokyo in June 1983 - his final concerts until, sobered up, he returned in 1985. (The Tokyo concerts were recorded by RCA, but withheld from this set at the request of the Horowitz Estate – a decision with which I agree. The two concerts included, from Boston and New York, are, frankly, bad enough and should probably not have been included either.) Until 1981, Horowitz always maintained rhythmic control, even when using the most pronounced rubato. Horowitz's November 1981 recital from the Met is the first indication something is wrong, as the playing occasionally goes slack. Yet there are still lovely colors and beautiful phrasing, and Horowitz’s memory seems to be mostly intact. More substantial deterioration is apparent at the May 1982 London recital. The Scarlatti Sonatas are lacking the grace he brought to these gems just a few months earlier at the Met. Both Chopin's Polonaise-Fantasie and G minor Ballade are fragmented and technically sub-par - the Ballade's coda is just plain banged. Schumann’s Kinderszenen suffers from fussed phrasing and drawn out ritardandos that border on the bizarre. Only in the Rachmaninoff Sonata does the playing improve - although it's nowhere near the level of his 1968 and 1980 recordings found elsewhere in the set. The decline accelerates in 1983: Horowitz’s rendition of Beethoven’s Op. 101 Sonata is a shambles on every level (the 1967 performances are portraits of interpretative rectitude in comparison), and he’s clearly struggling in the fugue – he has also lost dynamic control so some notes in quieter passages simply don’t sound. Schumann’s Carnaval – a work he did not otherwise record – is a captivating interpretation buried under an avalanche of wrong notes and lapsing memory. Yet even here, there’s the occasional turn of phrase, inner voice, or diminuendo, which can make the listener sigh. (Apparently, RCA prepared an edited version of these performances for Horowitz’s approval following the tour – which the pianist promptly rejected.) What a pity he never recorded Carnaval while in his prime, as it would have ranked alongside Rachmaninoff’s famous rendition. It would be sad way to conclude the set, which is possibly why the 1978 concerto performance with Mehta occupies the last disc.The publication of these performances in their unedited form, particularly those from 1983, raises the question of whether the set honors the pianist’s memory by issuing recordings he didn’t approve. It can be said that with performers, just as with historical figures and ordinary people, the best way to honor their memory is to tell their full story. Horowitz is heard in the set with his many virtues and foibles intact. Surprisingly, his flaws do not detract from his virtues, but make them even greater. In the history of pianism there were those who effortlessly swam the sea of life and performed with ease. But there were also those for whom just getting out of bed was a challenge, and mounting the stage and placing fingers on the keyboard daunting. Among the latter group, none soared higher than Horowitz at his best.A total of four works in this set are new to the Horowitz discography: Schumann’s Carnaval; Scriabin’s Prelude for the Left Hand; Chopin’s Etude in B minor, Op. 25. No. 10; and Horowitz’s own arrangement of John Stafford Smith’s Star Spangled Banner, which opens a 1978 recital at the White House. There’s a lot of duplicated repertoire in this set – yet the relevance of that fades as it becomes obvious the pianist never played the pieces the same way twice. Performances of the same work, even mere weeks apart, were often widely divergent, with differing tempi, phrasing, and layering of inner voices.Experiencing unadulterated Horowitz, I’m reminded of something Emanuel Ax said: “If you want to sound inspired, you have to work very hard; and if you sound too dryly intellectual you probably haven’t given enough thought to what you’re doing”. Even when at less than his best, Horowitz invariably sounded inspired. This is not the product of a mere showman engaging in whimsy and caprice, but the work of an artist in communion with the both audience and the music – which is essential for performances that breathe with life. It is not the kind of playing which will appeal to the pedantic, the musical bean-counters, and those with a mentality antipathetic to spontaneity. Comparison of the edited and unedited versions of Horowitz’s live recordings is most illuminating. Often, edits were inserted not for the purpose of deleting false notes (indeed, even the patched versions have some mistakes left in), but because the pianist may not have liked a particular phrase, an unusual dynamic, a tempo change – or occasional audience noise. Listening to this set leads me to the conclusion that the unedited versions deliver a greater sense of occasion, while the patched versions make for more satisfying repeat listening (although there are exceptions, such as the aforementioned Schumann Humoreske). I’ll treasure this set, warts and all, but will probably return to the authorized versions more often for repeat listening.The title of this set is a bit misleading: Many of these recordings have been issued before, albeit in edited form; and the 1967 Whitman Auditorium recital was issued in its entirety as part of the 2009 Original Album boxed set. Naturally, the sound varies considerably, given the various locales and changes in recording technology. The RCA recordings from 1977-1980 are consistently recorded too closely, so there is little sense of space around the piano or hall ambience – remastering has improved the sound somewhat. Parts of the 1981 Met recital sound distantly recorded and monaural – far inferior to the edited version. The 1982 London sounds much better, with the stridency of the original release considerably tamed. Two caveats: The second half of each of the 1983 recitals (along with brief portions of the Boston Carnaval) is derived from pirate tapes – as RCA’s digital tapes have deteriorated beyond repair. There is also a rather egregious production error: Several bars of the May 11, 1980 performance of the Schumann’s Nachtstück in D-flat major, Op.23 No.3 are missing. This is neither a cut nor a memory lapse on Horowitz’s part, as I confirmed via a pirate recording of that recital that he played the whole piece. Based on the production issues and the 1983 performances, I am rating this set with four stars.I hope that Sony will now issue what’s considered to be the “Holy Grail” among Horowitz collectors – the remaining Carnegie Hall concerts from the 1940s recorded at Horowitz’s expense and stored at Yale University.

Very refined analog-digital rendering. Since the sound is a bit more intimate then the Carnegy hall concerts, I consider these recordings my private Horowitz concerts.A large size book is added with interesting articles and the concert programs.

Best!

The review already written covers almost everything I would want to say about this treasure house of music. It is a wonderful collection despite many pieces being repeated, though often the nuances and the interpretations differ. I agree with the reviewer that the sliced versions of some performances that came out on albums in the late 1970s are still worth listening to, though hearing the actual live performances are very interesting. Horowitz in performance rarely held himself back and it is his ability to communicate with his audience that is so engrossing. One aspect of his work that is worth noting is the way that he carefully put his concert programmes together. He had this ability to ensure that any Horowitz programme would bring out the many different facets of his playing.One aspect that I found suprising was actually how well his playing stands up from the late 1970s and early 1980s - the only "published" concert performance was the wayward 1975 Carnegie Hall concert where his playing, certainly in the Schumann, was very disjointed. The 1975 - 1980 concert performances are remarkably good despite the odd wrong note and very occasional memory lapses - the attack and the turn of phrases are still very beautiful. It is wonderful to have the Rach 3 Concerto with Zubin Mehta on CD, I only have an old video of the performance and it is more moving and controlled than the published Ormandy CD. I approached the 1983 concerts with trepidation - yes the Beethoven sonata and The F major Etude (particularly in the first concert) are very painful to listen to, but the Schumann Carnaval (not a work I know) contains some beautiful playing and the other Chopin pieces pass muster. Thank goodness they took the decision not to publish the Tokyo concert, which I have listened to on YouTube - probably the worst concert he ever gave. Inderstandable perhaps given the drugs he was taking.It's a shame that they could not have published a disc of some of the pirate recordings of works that are new to his discography - I'd love to have his performance of Liebesleid on disc.Overall I have given this 5 stars (even with the 1983 concerts) as there is so much to enjoy here!

Je ne suis pas d'accord avec le commentateur precedent.Vladimir Horowitz etait un pianiste d'une imagination musicale merveilleuse et profondement passionante. Ses interpretations, bien que le repertoire ne soit pas vaste, apportent toujours quelque chose de neuf. Ce gros coffret est edite de maniere remarquable ; en fait, le livret est un beau livre comportant des images et des documents rares de valeur inestimable. De plus, quelques oeuvres s'ajoutent a la discographie horowitzienne pour la premiere fois : le Carnaval op. 9 de Schumann, une piece pour la main gauche de Scriabine, ainsi que l'etude op. 25 no. 10 de Chopin. Malgre que les derniers recitals de Horowitz montrent sa faiblesse et sa fatigue, les interpretations se placent au plus haut niveau. A pleurer.

Avvenimento discografico senza precedenti!No, non é una boutade giornalistica il titolo che ho scelto, ma é proprio quello che penso, mentre stringo fra le mani il bellissimo (e pesantuccio) cofanetto da poco uscito a cura della Sony. Certo avrei potuto pubblicare una recensione (Amazon lo consente) il giorno dell'uscita sul mercato, il 13 Ottobre, senza aver ricevuto il cofanetto, ma per dirvi cosa se non riportare note pubblicate su altri siti di musica e senza aver potuto toccare con mano e verificare personalmente? Quindi mi sono preso qualche giorno, dopo l'arrivo puntuale e rapidissimo di questo box a casa mia con Amazon Prime, per ascoltare numerosi CD (no, ancora non li ho ascoltati tutti! 50 CD vi immaginate...!) della raccolta e....sono rimasto a bocca aperta dalla meraviglia!Perché? Intanto per il suono che usciva, tanto dalle cuffie del mio impianto in camera accanto al letto quanto dagli altoparlanti del mio impianto principale: una qualità superlativa, come e anzi meglio di molte registrazioni in studio! Chi dice che la "qualità audio discreta e comunque adeguata" per l'epoca della registrazione probabilmente non ha davvero ascoltato questi CD (o lo ha fatto solo superficialmente) perché la qualità del suono che esce fuori é davvero magnifica, anche e anzi soprattutto nelle registrazioni degli anni '60 a cura della CBS. Un suono ripreso in Stereo che conserva tutta la dinamica impressionante che Horowitz sprigionava dai tasti bianchi e neri con le sue magiche mani! Questa accuratezza della ripresa sonora é importante perché, sopratutto negli anni '60 Horowitz appare ancora "intatto" nel suo virtuosismo irraggiungibile, mentre nei due decenni successivi questa suo marchio di fabbrica tende ad essere più sfocato, meno preciso e naturale.Detto questo sulla qualità di registrazione, che vale per tutti i CD da me ascoltati (una trentina), con l'eccezione dell'ultimo, il 50esimo, che é una registrazione live del terzo concerto di Rachmaninov a New York con Zubin Mehta alla testa nella New York Philarmonic e che mostra una qualità di ripresa del suono appena al di sopra della sufficienza, non rimane che sperticarsi in lodi infinite sulla qualità artistica che promana ogni singola interpretazione del grande Vladimir! Con grande fatica ho riportato anche il singolo programma di ciascun concerto, CD per CD, e come si evince dando una rapida occhiata più sotto, i 25 concerti nell'arco di 15 anni presentano programmi poco variati, salvo gli immancabili bis: basti pensare che l'unica sonata di Beethoven, eseguita ripetutamente negli ultimi 15 anni di attività, é la numero 28! Comunque sia, proprio la "ripetitività" dei programmi concertistici, non solo in serate successive ma anche in serate tenute a distanza di anni fra loro, consente all'appassionata/o di scoprire tutte le diverse interpretazioni del grande piccolo folletto Vladimir. Ed ecco perché, anche se le novità aggiunte al repertorio già registrato ufficialmente da Horowitz sono relativamente esigue, a mio avviso si tratta di un vero e proprio evento discografico, specialmente per la numerosa schiera di ammiratrici/ammiratori di Horowitz, che ancora a distanza di decenni dalla sua morte, non sarebbero mai sazi di ascoltare sue nuove interpretazioni. E, proprio perché si tratta di registrazioni dal vivo, "senza trucchi e senza inganni", si capisce bene come mai tale schiera sia ancora numerosa....e nel mio piccolo, peraltro, posso dire di farne parte!Buon ascolto a tutte e tutti voi....DISC 1-2: Haydn piano sonata Hob XVI: 23 ; Schumann Blumenstuck op. 19; Chopin piano sonata nr. 2; Debussy Preludes livre II nr. 5, 4 & 7, L'Isle Joyeuse; Liszt Valleè d'Obermann; Scarlatti sonata k 380; Chopin Waltz op. 64/2; Rachmaninov Etude Tableu op.39/2; November 13, 1966 - Woolsey Hall (Yale University), New Haven, ConnecticutDISC 3-4: Beethoven Piano sonata nr. 28; Chopin Barcarolle, Nocturne op. 55, Polonaise op. 44; Scarlatti sonatas k 101,319, 260, 466, 55; Schumann Arabesque; Liszt Scherzo S 177; Chopin Valse brillante op.34/2; Mendelssohn Etude op.104b; October 22, 1967 - Colden Center (Queens College), New York City, New YorkDISC 5-6: Beethoven Piano sonata nr. 28; Chopin Barcarolle, Nocturne op. 55, Polonaise op. 44; Scarlatti sonatas k 101,319, 260, 466, 55; Schumann Arabesque; Rachmaninov Etude Tableau op. 39 5 & 9; Schumann Traumerei; Chopin Marzurka op.7/3; Horowitz Variation on Bizet's Carmen; November 12, 1967 - Walt Whitman Auditorium (Brooklyn College), New York City, New YorkDISC 7-8: Beethoven Piano sonata nr. 28; Chopin Barcarolle, Nocturne op. 55, Polonaise op. 44; Scarlatti sonatas k 101,319, 260, 466, 55; Schumann Arabesque; Rachmaninov Etude Tableau op. 39 5 & 9; Schumann Traumerei; Chopin Marzurka op.7/3; Horowitz Variation on Bizet's Carmen; December 10, 1967 - Constitution Hall, Washington, D.C.DISC 9-10: Chopin Piano sonata nr.2 (solo marcia funebre in onore di Martin Luther King); Beethoven Piano sonata nr. 28; Chopin Barcarolle, Nocturne op. 55, Polonaise op. 44; Scarlatti sonatas k 380, 260, 466, 55; Schumann Arabesque; Rachmaninov Piano sonata nr. 2; Schumann Traumerei; Chopin valse brillante op.34/2; Moszkowsky Etude op.76/6; April 7, 1968 - Symphony Hall, Boston, MassachusettsDISC 11-12:Beethoven Piano sonata nr. 28; Chopin Barcarolle, Nocturne op. 55, Polonaise op. 44; Scarlatti sonatas k 380, 260, 466, 55; S; Rachmaninov Piano sonata nr.2 ; Schumann Traumerei; Chopin Marzurka op.7/3; Horowitz Variation on Bizet's Carmen; May 12, 1968 - Orchestra Hall, Chicago, IllinoisDISC 13-14: Haydn piano sonata Hob XVI: 48; Schumann Kreisleriana; Rachmaninov Piano sonata nr.2, Prelude op.32/12, Moment musical op.16/3; Chopin Waltz op.64/2; Liszt S160/4; Schumann Traumerei; Moszkosky Etude "per aspera"; November 3, 1968 - Woolsey Hall (Yale University), New Haven, ConnecticutDISC 15-16: Haydn piano sonata Hob XVI: 48; Schumann Kreisleriana; Rachmaninov Piano sonata nr.2, Prelude op.32/12, Moment musical op.16/3; Chopin Waltz op.64/2; Liszt S160/4; Schumann Traumerei; Moszkosky Etude "per aspera"; November 17, 1968 - Constitution Hall, Washington D.C.DISC 17-18: Haydn piano sonata Hob XVI: 48; Schumann Kreisleriana; Rachmaninov Piano sonata nr.2, Prelude op.32/12, Moment musical op.16/3; Chopin Waltz op.64/2; Liszt S160/4; Schumann Traumerei; Moszkosky Etude "per aspera"; December 1, 1968 - Academy of Music, Philadelphia, PennsylvaniaDISC 19-20: Schumann Bumenstuck, Concerto without orchestra op.14; Rachmaninov Prelude op.32/5, Etude Tableau op.39/5; Liszt Valse oublièe, Annèe S 160/4; Chopin Waltz op.34/2, Scherzo nr.1; Scarlatti sonata k 322; Moszkowsky Etincelles op.36/6; Chopin Etude op.10/5 Marzurka op.17/4; Rachmaninov Etude Tableau op.39/9; November 2, 1975 - Orchestra Hall, Chicago, IllinoisDISC 21-22: Schumann Arabesque, Concerto without orchestra op.14; Rachmaninov Prelude op.32/5, Etude Tableau op.39/5; Liszt Valse oublièe, Annèe S 160/4; Chopin Waltz op.34/2, Ballade nr.1; Schumann Traumerei; Moszkowsky Etincelles op.36/6; Chopin Etude op.10/5 Marzurka op.17/4; Rachmaninov Sonata nr.2 tempo III; February 15, 1976 - Paramount Theatre, Oakland, CaliforniaDISC 23-24: Schumann Arabesque, Concerto without orchestra op.14; Rachmaninov Prelude op.32/5, Etude Tableau op.39/5; Liszt Valse oublièe, Annèe S 160/4; Chopin Waltz op.34/2, Ballade nr.1; Schumann Traumerei; Moszkowsky Etincelles op.36/6; Chopin Etude op.10/5 Marzurka op.17/4; Rachmaninov Sonata nr.2 tempo III; February 22, 1976 - Ambassador College, Pasadena, CaliforniaDISC 25-26: Schumann Blumenstuck, Concerto without orchestra op.14; Chopin Marzurka op. 63/3 & 17/4; Scriabin Piano Sonata nr.5; Chopin Waltz op.64/2; Scarlatti sonata k 322; Moszkowsky Etincelles op.36/6; ; Scriabin Etude op.8/12 ; February 29, 1976 - Ambassador College, Pasadena, CaliforniaDISC 27-28: Clementi Sonata quasi concerto op.33/3; Chopin Nocturne op.72/1, Valse brillante op.34/2, Rondò op.16; Liszt Piano sonata in B minor; Schumann Traumerei; Moszkowsky Etincelles op.36/6 November 21, 1976 - Powell Hall, St. Louis, MissouriDISC 29: SmithThe Star Spangled Banner; Chopin Sonata nr.2, Valse brillante op. 34/2, Polonaise op. 53; Schumann Traumerei; Rachmaninov Polka de W.R.; Horowitz Variation on Bizet's CarmenFebruary 26, 1978 - The White House, Washington D.C.DISC 30-31: Clementi Sonata quasi concerto op.33/3; Schumann Humoresque; Rachmaninov Etude Tableau op.39/5, Barcarolle, Houmoresque op.10/5; Liszt Consolation, Mephisto Waltz; Chopin Waltz op.64/2; Schumann Traumerei; Mozskosky Etincelles; April 8, 1979 - Orchestra Hall, Chicago, IllinoisDISC 32-33: Clementi Sonata quasi concerto op.33/3; Schumann Humoresque; Rachmaninov Etude Tableau op.39/5, Barcarolle, Houmoresque op.10/5; Liszt Consolation, Mephisto Waltz; Chopin Waltz op.34/2; Scriabin Prelude for the let hand; Chopin Polonaise op.53; April 15, 1979 - Orchestra Hall, Chicago, IllinoisDISC 34-35: Clementi Sonata quasi concerto op.33/3; Schumann Humoresque; Rachmaninov Etude Tableau op.39/5, Barcarolle, Houmoresque op.10/5; Liszt Consolation, Mephisto Waltz; Chopin Waltz op.64/2; Schumann Traumerei; Rachmaninov Polka de W.R.; Chopin Polonaise op.53; April 22, 1979 - Constitution Hall, WashingtonDISC 36-37: Clementi Adagio in F Major, Piano sonata op.12/2; Schumann 3 Fantasiestucke op.111, Nachtstucke op.23; Mendelssohn Scherzo á capriccio, Chopin Barcarolle, Etude 25/7 & 10/5; Rachmaninov piano sonata nr.2 & Polka for W.R.; April 13, 1980 - Symphony Hall, Boston, MassachusettsDISC 38-39: Clementi Adagio in F Major, Piano sonata op.12/2; Schumann 3 Fantasiestucke op.111, Nachtstucke op.23; Mendelssohn Scherzo á capriccio, Chopin Barcarolle, Etude 25/7 & 10/5; Liszt Consolation nr.3; Rachmaninov piano sonata nr.2 & Polka for W.R; Chopin Marzurka op.17/4; May 4, 1980 - Avery Fischer Hall, New York CityDISC 40-41: Clementi Adagio in F Major, Piano sonata op.12/2; Schumann 3 Fantasiestucke op.111, Nachtstucke op.23; Mendelssohn Scherzo á capriccio, Chopin Barcarolle, Etude 25/7 & 10/5; Liszt Consolation nr.3; Rachmaninov piano sonata nr.2; Schumann Traumerei; Moszkowsky Etincelles; May 11, 1980 - Avery Fischer Hall, New York City, New YorkDISC 42-43: Scarlatti sonatas k 127, 466, 184, 101, 87, 135; Chopin Ballade nr. 1 & 4; Liszt Ballade nr. 2; Rachmaninov Preludes op.32/12, 32/5, 23/5; Polka de W.R.; Chopin Waltz op.69/1; Scriabin Etude op.8/12; November 1, 1981 - The Metropolitan Opera House, New York CityDISC 44-45: Scarlatti sonatas k 127, 466, 184, 101, 87, 135; Chopin Ballade nr. 1, Polonaise Fantasie op.61; Schumann Kinderszenen op.15; Rachmaninov piano sonata nr. 2 & Polka de W.R.; Chopin Waltz op.69/1; Scriabin Etude op.8/12; May 22, 1982 - Royal Festival Hall, London, EnglandDISC 46-47: Beethoven piano sonata nr.28; Schumann Carnaval; Chopin Polonaise op.61 & 53, Etudes op. 10/8, 26/10, 25/7; April 24, 1983 - Symphony Hall, Boston, MassachusettsDISC 48-49: Beethoven piano sonata nr.28; Schumann Carnaval; Chopin Polonaise op.61 & 53, Etudes op. 10/8, 26/10, 25/7; May 15, 1983 - Metropolitan Opera, New York CityDISC 50: Rachmaninov Concerto for Piano n.3 New York Philarmonic Zubin Mehta, September 24, 1978 - Avery Fisher Hall, New York City