En 1947, à la demande des Juifs vivant en Palestine, et qui voulaient que le foyer national juif originellement promis voie enfin le jour, les Nations Unies ont voté la partition du Mandat résiduel. À ce moment, un mouvement pour créer un État palestinien n existait toujours pas. Nul ne parlait de
nation palestinienne . Nul n a parlé de peuple palestinien avant que la notion soit inventée, dans la deuxième moitié des années 1960, et la population arabe palestinienne a été très largement constituée d immigrants arabes venus des pays voisins et aimantés par le dynamisme créé par les immigrants juifs. …
This double album presents, for the first time on recording, a Chicago concert and broadcast recorded in 1986, when Horowitz was 83. The music that exists from the last few years of Horowitz's life has a marvelous rarefied quality, and this live recording – marred by heavy early-season coughing about which Horowitz complains in one of the two included radio interviews, but enhanced by the immediacy of the live situation – is no exception. Horowitz was never the most purely muscular pianist out there (although he could make octaves ring when he had to), and not the most intellectual. But he was perhaps the most perfectionistic of the great pianists, taking stretches of several years off to rebuild his technique and his musical understanding when he felt his playing was not up to snuff.
All Horowitz fans will instantly love this recording from Carnegie Hall on November 16, 1975. They will gaze at the marvels of his Schumann, gasp at the miracles of his Liszt, and gape at the wonders of his Rachmaninov. His Chopin will astound them, his Debussy will amaze them, and his Moszkowski will astonish them. Jon Samuels' arduous editing will gratify them and RCA's assiduous sound will satisfy them. For all Horowitz fans, this release will be immensely welcome. For non-Horowitz fans, there is not much in this to love.
At the end of his life, Horowitz had chosen to record for Deutsche Grammophon. The Hamburg label reissues all of its recordings, 6 CDs, commemorating the centenary of the birth of the pianist.
It may surprise you to learn that, despite his untouchable reputation with the public, Vladimir Horowitz enjoyed a certain dubious reputation with the critics. For many, he was the epitome of the witless virtuoso, all technique and vulgar display, and no brains. There was some truth in this to the extent that he really could be variable on record, but by general consensus his Masterworks recordings show him at his absolute best.