Robert Schumann(1810-1857)
     Kinderszenen, Opus 15

Vladimir Horowitz
Philips 456838(2cds)
Recorded 1987

Back in Part 1, I reviewed the Horowitz 1962 performance on Sony 42409,
and gave it a strong recommendation.  My sole reservation was that there
were times when I felt I was listening to the Horowitz 'style' rather than
an interpretation of Schumann's music.

As part of the Philips Great Pianist Series, three volumes have been
devoted to Horowitz.  One is an all-Schumann program with performances
ranging from the 1930's to the 1980's.  As it happens, none of these
performances duplicates those on the Sony recording.  So, these two
offerings are a fine complement to one another.

The Philips set is a little deceptive in that the cover photograph of
Horowitz is an early one from the 1930's, although most of the performances
were recorded in the 1970's/80's.  In addition to Kinderszenen, the
program includes Kreisleriana, Homoreske, Toccata, Arabeske, Concert sans
orchestre, Fantasiestucke Opus 111, the rejected finale of Sonata Opus 22,
and one piece each from the Fantasiestucke Opus 12 and the Noveletten Opus
21.  For Horowitz fans, both the Sony and Philips recordings are a must to
add to the library.

Twenty-five years separate Horowitz's Sony Kinderszenen from the 1987
reading which was originally issued by Deutsche Grammophon.  It wouldn't
be strange to find significant differences in intrepretation with a
twenty-five year spread, and significant changes there are.  Concerning
sound considerations, it is fuller on the '87' version and represents an
advantage in some of the scenes.  Here's my run-down of the two versions:

Scene 1(Foreign lands and people) - With fuller sound, a slightly slower
tempo, and more effective nuances, Horowitz '87' improves upon the earlier
effort and is one of the best on record.

Scene 2(Curious story) - Richer sound and more nuance also lifts the '87'
version over the '62' which is quite sparse in texture.

Scene 3(Catch me) - The exaggerated note pounding and cute phrasing is the
same in both performances.

Scene 4(Pleading child) - Horowitz '62' has the advantage here with a very
poignant reading; the '87' effort is a little quicker and less involved.
I much prefer the earlier performance.

Scene 5(Happiness) - I don't care much for the '62' version which has
little lift and dwells on making nuances.  In 1987, Horowitz has an
entirely different view of the piece; he's faster, rises upward, and
totally dispenses with the nuance fixation.

Scene 6(Important event) - Too forceful in '62', Horowitz is even more
oppressive in '87'; increasing age evidently did not affect his ability
to drill those notes.

Scene 7(Dreaming) - This gorgeous music is better served by the more recent
performance.  The fuller sound is an advantage as well as better use of
nuance by Horowitz.

Scene 8(By the fireside) - Big advantage for Horowitz '87'.  His version
is one of the slowest on record; contemplation is enhanced while the
representation of the child maintains its wide-eyed nature.  Also, his
conclusion is like drifting in heaven.  The '62' performance is a fine one,
but not distinctive nor memorable.

Scene 9(Knight of the hobby-horse) - Both versions are good without
reaching the heights.  Horowitz '87' is quite lack-luster at the beginning
and then turns up the excitement; in '62', he starts off well but
eventually turns dour.  Some mixing of these two versions could result
in a winning effort.

In the remaining scenes, the two performances are similar.  However, the
Postlude(The poet speaks) finds Horowitz rather abrasive in 1987, and I
have little interest in abrasive poets.  From my view, the purpose of this
Postlude is to comfort and enlighten, and this version doesn't get there.
The effort on Sony is much closer to my understanding of the conclusion.

As you likely noticed, I have more favorable comments for the '87'
recording of Horowitz's Kinderszenen than for his Sony performance.
However, it still isn't enough to lift the more recent version to an
essential status.  Scenes 3, 4, 6, and the Postlude leave much to be
desired, and the best versions are more consistently engaging.

One factor which might sway you to one performance or the other concerns
the venues.  The Sony recording is a 'studio' effort, while the other is
in concert.  Any folks making noise during the performance? Yes, those
professional 'coughers' who zip around the country striking at a host of
locations.  Is there a feeling of group excitement?; nah, just a bunch of
human background noise.  Sony has the decided edge.

Don's Conclusions: I do tend to prefer Horowitz '87', but it's best just
to consider both performances excellent.  Also, there's no good reason,
other than financial, to choose between the Philips and Sony recordings.
Get them both and enjoy, but do keep in mind that Horowitz is not the last
word in the Kinderszenen.

Don Satz
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