Piano Recital Critique: Vladimir Horowitz

Student’s Name Professor’s Name Subject DD MM YYYY Piano Recital Critique: Vladimir Horowitz Vladimir Horowitz performed the piano recital in a live television concert that was broadcasted on the Columbia Broadcasting System (CBS). The performance took place in place in Carnegie Hall located in Manhattan, New York on 22nd September 1968. I watched the performance available on YouTube. To the completion of the performance, Vladimir Horowitz played eight different pieces by different composers namely Domenico Scarlatti, Frederic Chopin, Alexander Scriabin, and Robert Schumann. Watching the performance on YouTube allowed me to be flexible, to pause and rewind at will thus making it easier to understand. The venue, Carnegie Hall, gave the performer a grand and elevated position with the audience maintaining silence and applauding at the end of every piece. The first piece played by Vladimir Horowitz was Ballade in G minor, Opus 23 composed by Frederic Chopin. In the first piece, Horowitz starts with a moderate tempo; the rhythm is soft and simple. The rhythm increases steadily, then at an increases rate before resuming back to a steady and smooth rhythm. The performance starts with a gentle tone that accelerates to aggressive and ominous tone that Horowitz tunes down later in a cool harmony. Throughout the performance, Horowitz maintains a body language that complements the tone and melody. The same body language is reflected in the first peace too. Horowitz changes the melody and tune of the piece in different ways, sometimes making it visible for the audience while other times, the change is subtle and not easy to notice. The second piece of the performance, Nocturne in F minor, Opus 55, was also composed by Frederic Chopin. The second piece of the concert starts with an elaborate even base melody. Throughout the entire piece, Horowitz remains relatively consistent. The performer maintains a body language that complements the performance through the entire piece. As the melody becomes softer and Horowitz transitions into a softer tone, his body language becomes gentler, and the audience can relate more with the performance. The performer uses a gentle tempo in this piece and tends to get slower as the piece comes to an end. Next, Horowitz performs the Polonaise in F-sharp minor, Opus 44 also composed by Frederic Chopin. The piece is fast and has an aggressive tempo. Throughout this third piece, the ...