<?xml version="1.0" encoding="UTF-8" standalone="yes"?><oembed><version><![CDATA[1.0]]></version><provider_name><![CDATA[Arioso7&#039;s Blog (Shirley Kirsten)]]></provider_name><provider_url><![CDATA[https://arioso7.wordpress.com]]></provider_url><author_name><![CDATA[arioso7: Shirley Kirsten]]></author_name><author_url><![CDATA[https://arioso7.wordpress.com/author/arioso7/]]></author_url><title><![CDATA[A remarkable, up close and personal documentary about Vladimir Horowitz (on You&nbsp;Tube)]]></title><type><![CDATA[link]]></type><html><![CDATA[<p>A historic, 50 minute-long, Maysles made film gives a unique glimpse of the pianistic legend as he records Mozart concerto no. 23 (A Major) under the baton of Guilini (personally selected)</p>
<p>In between movements, Volodya schmoozes with the page turner, fawning journalists, plus an assortment of friends, hero-worshippers, whose conversations are permeated by off the cuff, sometimes awkward remarks. In one exchange, Horowitz bounces off a comment made by an attractive woman who likes his tie. Within earshot and well beyond, the celebrated pianist insists that the lady favors the tie over his playing. It’s a motif that endures repetition along with anecdotes that are cataloged in Horowitz’s personal memory archive.</p>
<p>A bit of ego massaging is intrinsic to the documentary, and one senses how the artist craves the adulation he&#8217;s rightly earned.</p>
<p>Working the room peopled with admirers, his manager, Peter Gelb, orchestra members, his wife, et al, Horowitz exclaims, “I’m the oldest person here!”</p>
<p>One zealous music critic asks Maestro about his relationship to Mozart. Horowitz responds he’s “number one,” my favorite. And then he sputters off with a recollection of Casals saying, “play Mozart like Chopin, and play Chopin like Mozart,” that tickles the crowd of devotees.</p>
<p>Not to forget, Horowitz’s impromptu renditions of his favorite movements by the Classical master. While playing the opening to Mozart’s Bb Piano sonata, in a recording session break, he insists it’s better than the A Major Piano Concerto.</p>
<p>Throw into the mix, Peter Gelb, personal manager, Guilini, a stately, mild-mannered, modest fellow, and sarcastic, brooding Wanda (Toscanini)and the repertory company is deserving of a special Oscar in a unique category of its own.</p>
<p>Naturally, the playing is compelling— noteworthy for its Classical and Romantic flair that will live on as pianists come and go. In the technical realm, I watched Horowitz tuck in the pinky of his right hand while playing rapid passage work, and I observed how he fleshed out voices (especially the bass) that most would ignore.</p>
<p>At the conclusion of the concerto&#8217;s first movement, Horowitz shouts, “only one false note!”</p>
<p>It epitomizes a candid view of the pianist in a rare cinematic form.</p>
<p>In summary, this wonderful video should not be missed!</p>
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