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Thank you for your comment. What both „giants“ had in common, was in my opinion a constant search for the best (ie most appropriate, for the piece in question) sound on their instruments (both had their preferred technicians in whom they trusted, Franz Mohr for Horowitz, Angelo Fabbrini for ABM) and the best way to project their sound to an audience (the “Horowitz screws” in the Carnegie hall stage floor where his piano had to be placed because of the acoustics). And yes, Horowitz sometimes tended to exaggerate, whereas ABM was more introverted. Where their respective approaches came surprisingly close was Scarlatti.

You saw them live? How marvelous! Where and when? I saw Rubinstein in Strasbourg in 1974, and Horowitz in New York in 1978 and 80, London 1982, Paris 1985, and Hamburg 1986.

Thanks. It’s always a difficult decision about which two „giants“ to include. Bolet certainly is on my radar for a possible future video (provided there is suitable footage).

PS. I‘m planning to publish a video with Bolet on Oct 5. Stay tuned.

Thank you for your very personal comment. I hope that you will find your discovery of classical music the more satisfying the more you dive into it. As an interpreter of a genius work you have to put your own ego completely aside in order to become a vessel for the intentions of the composer as you to the best of your abilities understand them. When going on stage, however, your ego has to be big enough that you’re capable to project to your audience not only the intentions of the composer (as you understand them) but also the conviction that your interpretation in all sincerity represents these intentions best.

It can take some time to understand which music by which composer played by which interpreter corresponds closest with your own innermost feelings. It also can be instant love when hearing a piece for the first time without knowing why you just have fallen in love.

Thank you for your comment. I can relate to what you’re saying. One reason might be that Horowitz was a much more torn personality with bigger inner demons (see for example his periods of absence from the stage) which you can hear reflected in his playing.

Horowits. Rubistain.

Rubistaines dulce más interrprtativo. .. ,

Thanks for your comment. Every great work of art (as does every great interpretation) in my opinion needs both elements, the Apollonian and the Dionysian (control and „let-go“). The question is which of the two elements is predominant, and in this respect, ABM could be seen as the predominantly Apollonian interpreter compared to Horowitz.

More colorful beautiful piano sound than ABM=Wilhelm Kempff Emil Gilels Radu Lupu Artur Rubinstein Vladimir Ashkenazy Grigory Sokolov! More genius than ABM=Sviatoslav Richter Solomon Cutner Grigory Sokolov Maurizio Pollini Stanislav Bunin Maria Grinberg! More powerful louder than ABM=Mikhail Pletnev(Prokofiev piano concerto no 1 by Pletnev!) The Second Loudest ever was Lazar Berman! The 3rd Loudest was Erwin Nyiregyhazi! ABM played the second-rated piano concertos like Mozart 13 Haydn G Major Liszt no 1! ABM never played the Best piano concertos like Mozart 24 Brahms 1-2 Chopin 1-2 Prokofiev 1-3 Rachmaninov 1-3 Saint-Saens no 2 Tchaikovsky no 1 JS Bach 1052 Beethoven no 4 Scriabin and so on! ABM was the Cyborg Human machine!

You’re right, the comparison is not perfect, yet I hope it helps demonstrate how each „giant“ technically, emotionally and intellectually approached a genius piece at a particular point in life.

@@RaineriHakkarainen Thanks for commenting. It is always and by nature must remain a question of personal preference who played what piece when better than anyone else. And it’s true that history not always treats potential „giants“ fairly. Yet, I still think that all in all ABM can be considered a giant of piano playing.

@@RaineriHakkarainen this is a literally ridiculous comment. Kindly STFU. Most of the pianists you mention are not, by anyone, held in the same regard as Michelangeli

Pollini is great genius but more colorful beautiful piano sound than Pollini=Wilhelm Kempff Emil Gilels Radu Lupu Artur Rubinstein Vladimir Ashkenazy Grigory Sokolov! More genius than Pollini=Sviatoslav Richter Solomon Cutner Grigory Sokolov Maurizio Pollini Stanislav Bunin Maria Grinberg! More powerful louder than Pollini=Mikhail Pletnev(Prokofiev piano concerto no 1 by Pletnev!) The Second Loudest ever was Lazar Berman! Horowitz his technique better than Pollini's technique!!

Both pianist were giants in their own way. Chopin, however, was a (giant) genius, meaning that his music offers room for more than one way of playing it (as long as you stay true to the spirit, whatever that means, and again a very wide field for discussions).

Thanks for your comment. I can relate to what you’re saying. It depends on whether you find that there are similar feelings in Chopin‘s music like the ones that Horowitz conveys.

@@grumpyoldpianistplus Thanks for this comment. I fully agree (including with the „subtle rubato“).

I know so very little about piano, but what you say is fascinating and I can instinctively hear what you're referring to. You opened a door for me. Thank you.

Yeah Chopin sucks he is a tick

@@byro59 I am pleased that you have the discernment to appreciate the subtleties of performance of one performer to another.

Thanks for your knowledgeable comment. This video was meant to be inspirational. Let’s do everything we possibly can to keep music alive.

Different choices were made by the two giants. However, Horowitz would not make it to the second round of any competition today, you are right on that. What does that tell you?... Horowitz asked that no competitions be named after him after he dies. Immediately, there was one in Ukraine and the man he asked who wrote it down and published it, was invited as a judge to the first competition in Horowitz's name. He wrote that his conscience did not at all bother him about that. He shall remain nameless by me. The fact remains...

Thank you for your comment. If the Google translation is correct, I understand what you’re saying. Sometimes (not always, I admit) our imagination can be so powerful that it comes close to a live experience.

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@@craigkdillon Thanks for commenting. You’re right, Solti‘s tenure as music director in Chicago (1969-1991) certainly was an outstanding musical partnership of excellency, as was Bernstein‘s tenure as music director of the NYPhil (1958-1969). Every musician and every orchestra sometimes doesn’t perform at the top of their possibilities. The proof of quality is whether they are able to lift themselves up to a higher level. And that’s what the NYPhil does. (They probably didn’t pay attention first because they thought, well, we know the piece, it’s „just“ this march.)

Vienna Phil was famous for its "bad behavior" if it didn't agree with a conductor.

@@charlescornner There is this joke where a tourist recognizes a member of the Vienna Philharmonic in the street and asks who would be conducting in tonight’s concert, whereas the musician answers: I don’t know. In any case, we play Beethoven.

Thank you, Alice. Good Shabbes.

@@GregBrownsWorldORacing Hello Mr Brown. Thanks for your message. I’m glad you enjoyed the video. Yes, I’m Swiss with Austrian heritage. I can think of only one American musician named Andreas (and in fact still German when named that way): the late André Previn. Cheers.

@@MildnerA Waaay off topic, but I have been to Basel 😄

Yes, there is a (lonely? 😉) sax player. You’re right, #sax is not very common in #classical #orchestras, although, the pieces in which they are used, are #gems throughout, starting with the #Arlésienne suites by #Bizet.

Best I can tell, LB really likes the piccolo part, I think everybody does.

Thanks for your comment about Bernstein. Boulez is mentioned and shown in the video (starting around 07:39).

​@@MildnerASorry I just read the description. I think you would be interested to see Bernstein's no-baton work in La Valse in the first Young People's Concert " What Does Music Mean?". Quite something! I am fascinated by Boulez' ability to do the most complex music without one.

Finally, I watched (again) the Young People’s Concerts episode you mentioned. I like Bernstein‘s no-baton conducting and find one can see some Mitropoulos heritage in LB‘s gestures.

@@lucynagawlikguitar8128 Thank you, Lucyna.

Danke, Ida 😃

Vielen Dank, Alice. Hoffentlich klappt es, dass Du beim nächsten Mal dabei sein kannst. Ich freue mich auch darauf.