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 [log in to unmask]