Michael Cooper wrote:

>>Horowitz/Toscanini
>. . . (And with my delight for both deviation and detail, I'll point out
>that if you hear these recordings first, you might not notice that the
>arpeggio Horowitz adds at the climax of the cadenza in the third
>movement, which no doubt causes Jocelyn to cringe in horror, and which
>thrills me to no end, is not in the score.)
>. . .
>. . .I'll second the Van Cliburn and Argerich recordings as good
>interpretations (shhh...don't tell anyone though), and leave it to other
>capable list members which of these recordings are those artists' best.

My easy pick: Argerich's most recent one, 1994, with Abbado, which I
mentioned a bit earlier.  It is just stunning in every way, including
the chamber music communication between orchestra and soloist and and
the incredibly light way the toughest passages are played, except in the
cadenza, which is intense and the playing there hard to believe, ending in
the same arpeggio, by the way, that you mentioned Horowitz doing, and I do
prefer it to the single note as written ...  I can almost guarantee you'll
enjoy this one quite a bit, as it's the only version I've heard (including
her 3 earlier ones that I have) that I actually enjoy from start to finish,
as it's not my favorite piece.

Speaking of cadenzas -- on her new DVD "Martha Argerich and Friends" (from
concerts in '82), there is a 'glossary,' which includes this intriguing
definition:

   Cadenza    A virtuous solo part before the coda

to which a friend added:

   Decadenza  A less virtuous solo

Andrys in Berkeley
http://www.andrys.com/argerich.html
http://www.andrys.com/books.html