Parts of this strikingly anticipate Liszt's famous Nocturn No. 3 in A-flat, commonly known as 'Dreams of Love'. I wouldn't be surprised if it was the original inspiration.
Every once in a while, someone comes along, plays something at a speed that you would normally disagree with, but you don't even notice because it's so convincing and beautiful. What a remarkable musician he is. No one does nostalgia and reflection like Horowitz.... it's no surprise that he's incredible at Schubert as well.
But he is not just an old man, he is Horowitz. His performances are always original, which, I think, is the most important thing in art. For example, some people may ask: “Why does this black square cost so much?” - the answer is: because it’s original and forces to think of the cost of art product in philosophical perspective. Because art products aren’t always important for their beauty (although the beauty in art is virtually needed) but they also make up new thoughts of life in general, that gain us better view over things which materialize our personalities and life experiences.
Truly magical! Horowitz was a magician at the keys, and he was a tour de force in his prime, especially in his youth. People that don't revere Horowitz don't know him and don't know music.
this is absolute and utter control and mastery of the instrument. breathtaking. it feels like the entire piece is sung in one breath, it is one continuous line, undergoing so much change, insecurity, curiosity, naivety, anger. its magical. when you look at the video recording you see that as per usual, Horowitz basically does not move his hands at all. all of this beautiful legato and dynamic control is coming solely through the fingers, which makes the even, singing tone at spots like 1:32 truly incredible. such a blessing that we have these recordings.
Magnificent. And I love this speed, personally. I can play just a bit of this, unfortunately, but I,also, like to play it at his speed. Then again, Horowitz has been an idol for me most of my life, particular when I was a child; I heard him play on some television show, and then I sat at his piano when I was just entering my teenage years in 2003; March 15, 2003, to be exact. I can't believe, nearly 21 years later, that my hands struck the ivories of the piano belonging to a god.
Such a beautiful piece. I always wonder how much of a shame it is for him to have not performed for 12 years of his life and the fact that we lost such a contribution pains me but it is evident in pieces such as this that a man who has felt more emotion is a deeper man. I just always find it amazing how beautifully he plays.
I think you have it backwards. Depression isn't just a disease; it's often a symptom of neurodivergence. The incredible sensitivity you hear in his performance has its flip-side.
Could there really be a better performance than this? I am a Korean composition, musicology, and music theory student, and my name is Kyoung-hoon Kang. Thank you for introducing such a good performance.
It was originally published (after Schubert's death) a semitone higher in G major, owing to the mistaken belief by the pubishers that this would make it 'easier' to play (it isn't!). Indeed, my ancient copy of the score is in G major - somewhat to my annoyance! It also does away with Schubert's 4/2 time signature, instead being printed in simple 2/2 (cut-time). I've often wondered about the ambiguity in the rhythm. Should the quavers, in the first few bars at least, be grouped as sextuplets (i.e. 2+2+2) or as pairs of triplets (i.e. 3+3)? I believe Schubert left the issue open - correct me if I'm wrong. I think Horowitz was careful not to emphasise any distinction. Lovely performance, at any rate.
Shubert found this glorious melody. The he heard counter melodies. Then he added an oscillating accompaniment. ,...................... then he made the piece too long.
Remember Schumann's reference to Schubert's heavenly length. Having heard this performance I wonder whether I should continue attempting to play this piece or instead just keep reminding myelf of how Horowitz plays it!
![[Sviatoslav Richter] Schubert: Wanderer Fantasy for Piano](http://i.ytimg.com/vi/OJQQ0fPemaE/mqdefault.jpg)
the church bell in the background adds so much to this performance
Literally!
When can you hear the Church Bell?
Ah now I found it, its accompanied with coughing too, beautiful! 😅
Parts of this strikingly anticipate Liszt's famous Nocturn No. 3 in A-flat, commonly known as 'Dreams of Love'. I wouldn't be surprised if it was the original inspiration.
Liebestraum is one of my favorites!!!
This piece was published in 1828 and liebestraum was written in 1850...
@@adamkohajda4791yea... that's what he's saying
I doubt they are any close to each other
wouldn't surprise me. Liszt practically worshipped Schubert
Every once in a while, someone comes along, plays something at a speed that you would normally disagree with, but you don't even notice because it's so convincing and beautiful. What a remarkable musician he is. No one does nostalgia and reflection like Horowitz.... it's no surprise that he's incredible at Schubert as well.
Music is one of the things that connects the old with the young wonderfully.
Agreed!
Also, Tom and Jerry
But he is not just an old man, he is Horowitz. His performances are always original, which, I think, is the most important thing in art. For example, some people may ask: “Why does this black square cost so much?” - the answer is: because it’s original and forces to think of the cost of art product in philosophical perspective. Because art products aren’t always important for their beauty (although the beauty in art is virtually needed) but they also make up new thoughts of life in general, that gain us better view over things which materialize our personalities and life experiences.
It's getting stuffy here
Truly magical! Horowitz was a magician at the keys, and he was a tour de force in his prime, especially in his youth. People that don't revere Horowitz don't know him and don't know music.
this is absolute and utter control and mastery of the instrument. breathtaking. it feels like the entire piece is sung in one breath, it is one continuous line, undergoing so much change, insecurity, curiosity, naivety, anger. its magical. when you look at the video recording you see that as per usual, Horowitz basically does not move his hands at all. all of this beautiful legato and dynamic control is coming solely through the fingers, which makes the even, singing tone at spots like 1:32 truly incredible. such a blessing that we have these recordings.
Magnificent. And I love this speed, personally. I can play just a bit of this, unfortunately, but I,also, like to play it at his speed. Then again, Horowitz has been an idol for me most of my life, particular when I was a child; I heard him play on some television show, and then I sat at his piano when I was just entering my teenage years in 2003; March 15, 2003, to be exact. I can't believe, nearly 21 years later, that my hands struck the ivories of the piano belonging to a god.
Horowitz is he master, for sure. His pianissimos are do die for.
Such a beautiful piece. I always wonder how much of a shame it is for him to have not performed for 12 years of his life and the fact that we lost such a contribution pains me but it is evident in pieces such as this that a man who has felt more emotion is a deeper man. I just always find it amazing how beautifully he plays.
I think you have it backwards. Depression isn't just a disease; it's often a symptom of neurodivergence. The incredible sensitivity you hear in his performance has its flip-side.
I also wonder if a big part of the depression was that he was forced to hide his sexuality
Se oyen unas campanas en un momento dado, y es de un efecto maravilloso, junto con la magnífica interpretación del gran Schubert….
Old but gold.
Also being super aware of his accoustic environment. You cannot pull these things off in a room. Aspects of an artist expanded
Could there really be a better performance than this? I am a Korean composition, musicology, and music theory student, and my name is Kyoung-hoon Kang. Thank you for introducing such a good performance.
Good luck with your studies!
1:16 is so beautiful and unique
A sublime work, and a superlative rendition.
beautiful rendition.
That old man is Horowitz. I hope to play the Gb Impromptu like that at any point in my life.
The church bells in the background add to the whole atmosphere.
Bravo Maestro!
Achingly beautiful 😊
Horowitz w/o a doubt!
Edit: Saw it later in the description...
83 Years old ( May 31 , 1987 )
Who, you or Horowitz? 😉
@@notmyworld44 Horowitz , born October 1 1903
@@hansdekorver7365 Of course you know I was jesting with you.
I probably wound't have cliked, but I'm an old man too and thought this was an Improvisation.
I feel like this piece is in F#
It was originally published (after Schubert's death) a semitone higher in G major, owing to the mistaken belief by the pubishers that this would make it 'easier' to play (it isn't!). Indeed, my ancient copy of the score is in G major - somewhat to my annoyance! It also does away with Schubert's 4/2 time signature, instead being printed in simple 2/2 (cut-time).
I've often wondered about the ambiguity in the rhythm. Should the quavers, in the first few bars at least, be grouped as sextuplets (i.e. 2+2+2) or as pairs of triplets (i.e. 3+3)? I believe Schubert left the issue open - correct me if I'm wrong. I think Horowitz was careful not to emphasise any distinction.
Lovely performance, at any rate.
the fifth measure is different. I prefer horowitz's version
Yes, it is. I played it the same way and I wish all scores were written like so.
Yes a subtle change in harmony makes all the difference.But I prefer respecting Shubert and playing the original version
It’s the harmony used in Liszt’s edition
Just an "old man"? How sad, title, and for me, a disrespectful one. A GREAT man, GREAT artist!
No disrespect, everyone knows it’s Horowitz!
Shubert found this glorious melody. The he heard counter melodies. Then he added an oscillating accompaniment. ,...................... then he made the piece too long.
Remember Schumann's reference to Schubert's heavenly length. Having heard this performance I wonder whether I should continue attempting to play this piece or instead just keep reminding myelf of how Horowitz plays it!